,,greek ,,vase-,,painting ,illustration3 ,,plate ,i4 ,frontispiece3 ,,theseus1 ,,athena ,,and ,,amphitrite3 ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,euphronios ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,,greek ,,vase-,,painting by ,,ernst ,,buschor ,,with ,c,l,x ,,illustrations ,,translated ,,by ,g4 ,c4 ,,richards ,m4,a41 ,f4,s4,a41 ,,fellow ,,of ,,oriel ,,college ,,oxford ,,with ,a ,,preface ,,by ,,percy ,,gardner ,,litt4,d41 ,f4,b4,a41 ,,professor ,,of ,,classical ,,arch,,ology ,,in ,,the ,,university ,,of ,,oxford ,,london ,,chatto ,,windus #aiba ,,contents ,page ,preface vii ,chapter ,i4 ,the ,stone and ,bronze ,ages #a 0 ,,ii4 ,the ,geometric ,style #ah 0 ,,iii4 ,the ,seventh ,century #bi 0 ,,iv4 ,the ,black-,figured ,style #fc 0 ,v4 ,the ,red-,figured ,style in the ,archaic ,period #aaa 0 ,,vi4 ,the ,style of ,polygnotos and ,pheidias #acc 0 ,,vii4 ,late ,offshoots #aee ,index of ,illustrations #afa ,index of ,names #agd ,,preface ,a history of ,greek vase-painting has been for a long time a desideratum of students of ,greek art and antiquity4 ,many years ago ,i planned such a work1 but the difficulty of the necessary illustration caused the plan to break down4 ,in the meantime an extensive literature has grown up on the subject1 mainly in ,german1 but with contributions from other countries4 ,in his first chapter ,dr4 ,buschor has shewn how the result of excavation in ,greece and ,italy has been to throw our starting-point further and further back1 until it lies in the ,neolithic age4 ,but it is not only in regard to the earlier phases of ,greek vase-painting that research has brought light3 the red-figured vase-painting which is one of the most perfect fruits of ,greek art in the fifth century has been far more minutely and intensively studied4 ,the result has been to fix the outlines1 and more than the outlines1 of the history of a fourth great branch of ,greek artistic activity2 the history of architecture1 of sculpture and of coinage having been already thoroughly investigated4 ,and this fourth branch is not merely vase-painting2 but since the fresco and other paintings of the great age of ,greece have almost entirely perished1 we may fairly say that it includes almost all that we can ever know of the history of early ,greek painting4 ,vase-paintings can but feebly image the colouring of the great painters of ,greece2 but they can give us invaluable information as to the principles of grouping and perspective adopted by them2 they can reflect the extreme beauty of their figure-drawing2 and they can shew us how they treated subjects from the vast repertory of ,greek mythology and poetry4 ,most of those who take up the study of ,greek art are strongly attracted by vases1 the subjects of which are more varied1 and the treatment freer than is the case with sculpture4 ,for mythology1 religion1 athletics1 daily life1 they are first-hand authorities4 ,yet one may fairly say that1 until a few years ago1 satisfactory study of them was impossible4 ,vase-paintings1 in consequence of the shape of the vessels themselves1 can very seldom be adequately reproduced by photography4 ,and the published drawings of them1 until about #ahhj1 were quite untrustworthy2 partly because the draughtsmen had insufficient sense of style1 partly because most of the vases in the great museums were more or less restored1 often in a most misleading way4 ,thus merely to reproduce published engravings of the vases was quite misleading4 ,the truth about them could only be known from a technical examination of the originals scattered through ,europe4 ,yet one must say that in nearly all our ,english classical books and dictionaries1 old engravings are uncritically reproduced4 ,it is a fouling of the springs2 and however practically inevitable such a course may often have been1 the result is that the reader never knows whether he is treading on firm ice or on a mere crust4 ,anything more reckless and misleading than the procedure of the publishers and editors of illustrated classical books can scarcely be imagined4 ,the errors resulting can only be weeded out by slow degrees4 ,since about #ahhj things have slowly mended4 ,the ,german ,archological ,institute1 and the ,french and ,english ,societies for the promotion of ,hellenic ,studies have published really careful drawings of a multitude of vases1 ,mr4 ,f4 ,anderson in ,england being one of the most accurate and careful of the artists employed4 ,in the last few years the catalogues of vases in ,berlin1 ,paris1 ,munich1 ,london and other places have given authoritative information as to restorations4 ,a fresh era in the knowledge of technique and subject was begun by the magnificent publication of ,furtwngler and ,reichhold1 with its splendid plates4 ,at present the most authoritative works on early red-figured vases are those of an ,oxford man1 ,mr4 ,j4 ,d4 ,beazley1 and an ,american1 ,mr4 ,j4 ,c4 ,hoppin4 ,mr4 ,beazley has been good enough carefully to revise the present translation4 ,we have reached a stage at which1 for all but specialists1 what was most needed was a general history of ,greek vases in all their periods1 compiled by a trustworthy authority1 and so fully illustrated 7no easy matter7 as to enable a reader to follow the text throughout4 ,thus would the whole subject be mapped out1 and the approach to any particular province be made easy4 ,such a book is that of ,dr4 ,buschor4 ,his examples are carefully chosen2 his text shews full mastery of the subject2 and it is very unlikely that his treatment will be superseded for a long time to come4 ,it is1 however1 a book not adapted for a mere cursory reading1 but for careful consideration and study4 ,i may add a few words by way of introduction to the subject4 ,we may divide the whole history of ,greek pottery into two sections1 which are separated one from the other by the line which divides primitive from mature ,greece1 about the middle of the sixth century4 ,before that time1 before the age of ,crsus and the rise of the ,persian ,empire1 the history of ,greece is very imperfectly known to us1 through the traditions of the temples and the old families1 which are seldom wholly to be trusted4 ,where history is uncertain it is of untold value to have monuments and works of human manufacture to supplement it4 ,these provide a skeleton of fact with which to compare legend and tradition4 ,it is now generally recognized that before writings in the form of inscriptions and coins come into general use1 pottery furnishes the most continuous and most trustworthy material for the dating of sites1 indications of commercial intercourse1 the movements of peoples4 ,in recent years the study of prehistoric ,greece has made immense strides1 primarily owing to the excavations of ,schliemann1 ,evans and other investigators4 ,the subject seems to fascinate the younger generation of archologists2 and the pottery found in the graves of the early inhabitants of ,greece and ,asia ,minor has been worked at with great minuteness and to much result4 ,it has revealed to us the outlines of the early history of ,crete1 the ,troad1 ,laconia1 ,thessaly1 and a number of other districts4 ,constant comparison with the results of finds in ,egypt which can be dated from inscriptions has revealed in a measure the state of the civilization of the gean in century beyond century1 back to ,neolithic times4 ,when ,greek civilization became fully established1 in the sixth century1 when inscriptions and coins begin to give us far more exact information than that which can be derived from pottery1 the interest attaching to the latter does not cease1 but it changes in character4 ,we no longer go to it to determine the outlines of the history of civilization4 ,but it has now become a thing precious in itself because of its beauty1 its close relation to the poetry1 the religion and the life of ,greece4 ,the elegant forms of ,greek vases and the charm of the designs painted on them have caused them to be sought after by great museums and wealthy collectors4 ,the graves of ,italy1 ,sicily1 ,hellas1 have poured out a constant supply of these works of art1 some of them beyond value4 ,classical archologists have naturally given much attention to them2 and of late years the assignment of examples to noted masters1 and the study of their technique have been zealously prosecuted4 ,they belong too wholly to a civilization which has passed away to be readily understood by ordinary visitors of museums2 but those who have once been bitten with their charm find in them an occupation1 a delight and a solace which are great helps in life4 ,greece is the classical land of art in all its forms1 and the principles of art which were established by the successive schools of art there can never be wholly neglected4 ,if we set aside the pottery of ,china and ,japan1 which is1 in another sphere1 of unsurpassed beauty1 the pottery of ,greece is the only perfectly developed and thoroughly consistent pottery in the world2 and the noted productions of modern ,europe seem in comparison poor and half-civilized4 ,dr4 ,buschor's general plan has compelled him to write but in a summary way of the works of red-figured style1 which are incomparably the most beautiful4 ,in fact1 in such small and rough illustrations as are possible in a handbook1 their quality could not be reproduced4 ,for them the reader must go on to other works1 or visit the vase-rooms of museums4 ,a conspectus of successive styles and periods was all that was possible4 ,and ,i think that enough is here accomplished to arouse the interest of those who love art and have some sympathy with the ,greek spirit4 ,the old supremacy of the ,classics in education has passed away1 and in future they will have to hold their own not by prescriptive right but in virtue of their intrinsic value1 on which more and more stress is being laid by those who feel what their neglect in the modern world would mean4 ,it is time to strengthen their hold by shewing how they lie at the very root of philosophy1 literature and art4 ,our successors will not be satisfied with drilling boys in ,greek and ,latin grammar1 but will have to insist on the place held by ancient peoples1 the ,jews1 the ,greeks and the ,romans1 in the evolution of all that is valuable and delightful in the modern world4 ,we have to widen the field of ,classics1 and illustrate the literature from every point of view4 ,and if it be felt that the object of education is not merely to enable boys and girls to earn a living1 but to help them to lead a worthy and happy life1 then ,i have no fear that the ,classics will be permanently eclipsed4 ,mr4 ,richards' work as a translator was very difficult4 ,in spite of kindred origin1 the ,german mind in literary production moves on different lines from the ,english4 ,not only is the order of words in a sentence different1 but the sentences themselves are much more involved1 and ,german scientific writers aim at an exactness in the use of terms which we seldom attempt4 ,mr4 ,richards' version is very accurate2 but it must be allowed to be not always easy reading4 ,he preferred to retain as much as possible of the meaning1 even if it involved some stiffness in the text4 ,students will thank him for this2 and if the general reader finds that he has to give the text a closer attention than he is used to give to books1 he will in fact have his reward4 ,dr4 ,buschor's work is a solid stone for the temple of knowledge1 and the main lines of the subject are now so firmly fixed by induction1 that they are not likely to suffer very much change in the future4 ,p4 ,,gardner4 ,,chapter ,i4 ,,the ,,stone ,,and ,,bronze ,,ages ,students of the history of ,greek vases have been gradually led backwards from a late period to earlier and earlier stages of civilization by the course of circumstances4 ,first of all graves were opened in ,lower ,italy2 the first great collection of vases1 formed by ,sir ,william ,hamilton1 ,british ambassador in ,naples1 and published in #agia-ahjc1 contained chiefly the output of later ,italian manufactories4 ,next1 from #ahbh onwards1 the doors of ,etruscan graves were unlocked1 and their contents proved to be the rich treasures of ,greek red and black-figured vases1 procured in such numbers by the ,etruscans of the #fth and #eth centuries4 ,about twenty years later a bright light was thrown on eastern ,greek pottery of the #gth century by the discovery of a cemetery in ,rhodes4 ,about #ahgj the #8,geometric' style became known and the ,dipylon vases at ,athens were revealed4 ,in the seventies and eighties ,schliemann's spade unearthed the ,mycenean civilization1 and in the beginning of the present century we were introduced to the culmination of this period in ,crete4 ,finally in quite recent times finds of vases of the ,stone ,age in ,crete and in ,north ,greece have given us a view of vase-production in the third millennium ,b4,c4 ,if therefore we wish to retrace this long road1 we must begin at a period1 of which the investigation has only just begun and which presents most difficult problems4 ,the excavations in ,northern ,greece1 i4e41 in ,north ,boeotia1 ,phocis and above all ,thessaly1 have introduced us to a purely ,neolithic civilization4 ,here alongside of the two simpler prehistoric techniques1 unornamented 7monochrome7 and incised ware1 was discovered1 even in the oldest strata1 a richly developed painted style1 with linear ornaments painted either in red on vases with a white slip or in white on vases made red by firing4 ,the monochrome1 red or black vases are often brilliantly polished and of excellent workmanship4 ,in the later layers of the ,stone ,age finds this civilization differs considerably according to locality4 ,one class of painted 7and incised7 vases is very prominent3 it was found chiefly at ,dimini and ,sesklo1 and shows quite a new principle of decoration 7,fig4 #a74 ,it combines curvilinear patterns1 especially the spiral motive1 with rectilinear decoration 7zig-zag1 step pattern1 chequers1 primitive maeander1 etc472 the colouring varies1 white on red1 black on white1 brown on yellow4 ,side by side with this style we find in other places the greatest variety of painted and unpainted vases3 even polychrome decoration appears4 ,in the early ,bronze ,age all this splendour vanishes and gives place to the production of coarse unpainted ware4 ,it appears that this ,stone-,age ,ceramic of ,north ,greece has no connection with the finds of ,south ,greece1 and is rather to be traced to the ,north and the civilization of the ,danube valley4 ,the ,south presents us with a much more primitive picture4 ,the large layer of ,stone ,age finds1 which came to light in ,crete1 produced vases with incised geometrical ornament1 alongside of coarse undecorated pottery1 but curvilinear patterns of ,thessalian type are completely absent and painted vases are rare4 ,the reason for a less elaborate development of ,neolithic civilization in ,crete seems to be that it gave place to the ,bronze ,age comparatively ,illustration3 ,,plate ,,ii4 ,fig4 #a4 ,,stone ,,age ,,bowl ,,from ,,thessaly4 ,illustration3 ,fig4 #b4 ,,face-,,urn ,,from ,,troy ,,ii-,v4 early3 in ,thessaly it seems to go down far into the second millennium4 ,according to these early vase finds one has thus to picture to oneself the beginnings of ceramic art4 ,first1 the most essential household vessels are fashioned by hand out of imperfectly cleansed clay1 and burnt black in the open fire1 and before long the outer surface is also polished1 probably with smooth stones4 ,rectilinear ornaments are pressed or incised into the soft clay1 and by degrees the method of filling and indicating the incised lines by a white substance is learned2 the clay is also treated plastically1 for instance channelled4 ,gradually the clay is made less impure1 is more cleanly polished and more evenly baked in the oven1 and by the actual firing has various colours1 red1 black1 grey1 yellow and brown1 imparted to it4 ,thus a ground is also obtained for painting1 on which the rectilinear ornaments are imposed with colour4 ,greater solidity and brighter colouring are obtained by covering the vase with a slip1 which moreover sets off the painting excellently4 ,the invention of the wrongly styled #8varnish1' a black colour glaze which1 though technically undeveloped1 appears even in ,north ,greece of the ,stone ,age1 is of the highest importance for the whole history of ,greek vase-painting4 ,the forms are primitive1 little articulated1 but already very various3 the decoration covers uniformly almost the whole vase4 ,but the different techniques do not regularly succeed each other2 inventions are not immediately communicated from one locality to another2 primitive methods subsist alongside of more advanced1 nay even sometimes drive them out again4 ,this much is clear1 that a section taken through these contemporaneous prehistoric civilizations would present a highly variegated aspect4 ,the ,stone ,age is succeeded by the ,bronze ,age1 here earlier and there later2 here more quickly1 there more slowly2 i4e41 metals are gradually introduced1 and with them new techniques and a new civilization4 ,it is evident that to the earlier ,bronze ,age belong a series of innovations which are of decisive importance for the history of vases1 the invention of the potter's wheel1 the perfection of the so-called #8varnish1' and the imitation of metal forms in clay4 ,in most places the potter's oven and the painting of vases appear only in the early ,bronze ,age4 ,into the early ,bronze ,age fall the finds from the earliest layers at ,troy4 ,in the unalterable faith that he was discovering the world of ,homer1 with the strong and weak points of a dilettante1 ,heinrich ,schliemann began to dig at ,hissarlik1 and in the excavations of #ahga1 #ahgh1 #ahij and #ahic ,drpfeld and he investigated the rubbish hill1 which has become so famous1 the nine superimposed settlements of which represent as many successive civilizations down to ,roman times4 ,the numerous ceramic finds of the five lowest layers show the transition from rude hand-made and ill-baked ware with impressed linear patterns to ever more developed stages4 ,the potter's wheel and oven finally succeed in producing brilliant red1 black1 grey1 brown vases of the finest technique4 ,the variety of shapes is very great1 some are already quite developed2 the imitation of metal forms is to be traced here and there4 ,a notable speciality is found in the so-called ,face-urns 7,fig4 #b71 rude imitations of the human form1 produced by adding eyes1 nose1 mouth1 ears1 nipples and navel2 and there are also other vase-types1 which are not repeated in ,western ,greece4 ,painting is rare1 the vases are either monochrome or adorned with incised linear ornaments1 which are often applied in the manner of necklaces1 or divide the vase vertically4 ,the ,bronze ,age civilization of the second city up to the fifth1 which1 judging by the rich finds of metal utensils and ,illustration3 ,,plate ,,iii4 ,fig4 #c4 ,,jug ,,from ,,syros4 ,illustration3 ,fig4 #d4 ,,jug ,,from ,,mycen4 gold ornaments1 was by no means primitive1 recurs in the whole of ,n4,w4 ,asia ,minor and in ,cyprus4 ,its last phase cannot be separated in time from the western civilization of the shaft graves 7p4 #g74 ,parallel with ,troy ,,ii-,v and the mainland civilization of ,marina 7below71 on the islands of the ,aegean is the so-called ,cycladic civilization4 ,its pottery1 however1 presents a much more variegated picture3 beside the primitive vases there are vases incised and painted with rich1 not exclusively rectilinear1 ornamentation3 glazed 7#8varnished'7 vases also occur4 ,the forms are very varied3 bronze and stone vessels often serve as models2 the structure of the vases and the distribution of the ornamentation show unmistakeably definite artistic intention4 ,there is great difference between various islands and a comprehensive view of the development is not yet possible4 ,specimens like the beaked jug from ,syros 7,fig4 #c7 are probably contemporary with the early ,minoan style of ,crete 7p4 #g71 but the pans with engraved spirals1 circles1 ships and fish are later4 ,on ,melos1 which has quite a separate position of its own1 the influence of the ,cretan #8,kamares' civilization 7p4 #h7 in technique and decoration is obvious4 ,we return to the mainland and ,central ,greece4 ,hagia ,marina in ,phocis is the chief place in which a pottery1 following on the ,neolithic1 has been found1 hand-made with a black or red glaze1 with or without rectilinear ornaments in white4 ,this was called #8,primitive varnish ware1' before the ,neolithic preceding stages had become known4 #8,marina' ware superseded the ,neolithic in ,boeotia 7,orchomenos7 and ,thessaly also2 similar vases have been found in the western islands 7,leukas7 and in the ,argolid 7,tiryns74 ,it is also related to the ,cycladic civilization1 as is indicated by the jug imitated from metal models1 which is common to both styles4 ,the #8,marina' layer is succeeded at ,orchomenos by a ware of a totally different kind1 which probably spread from this locality and is therefore called #8,minyan1' dark-grey and grey or yellow vases1 especially 7a7 drinking-cups1 with tall channelled foot1 and 7b7 profiled two-handled cups 7,fig4 #f71 turned on the wheel1 and in shape more plainly even than the ,marina ware dependent on metal models4 ,the wide extension of this already finely developed ware combines a series of bronze-age sites into a chronological unit1 the so-called #8,shaft grave' stage 7p4 #g74 ,in ,northern and ,central ,greece as well as in ,leucas it follows on the #8,marina' ware1 in ,attica and ,aegina it takes the place of the monochrome and incised ware1 in the islands it supersedes the ,cycladic pottery1 in ,troy it is parallel with the ware of ,asia ,minor and ,cyprus1 in the ,argolid the ,marina finds of ,tiryns are followed by the shaft graves of ,mycenae with ,minyan vases4 ,almost everywhere along with the ,minyan ware we find vases not so finely constructed1 generally hand-made1 which are neither burnt dark nor glazed1 but show a decoration applied in dull colour4 ,this lustreless painting 7,mattmalerei7 in ,central and ,northern ,greece1 and also in ,attica 7white-ground ware of ,aphidna1 ,eleusis71 uses only geometrical ornaments2 in the ,argolid on red or light clay vases linear patterns1 wavy lines1 running spirals or even figured decorations 7e4g4 birds1 ,fig4 #d7 are painted in brown colour4 ,the decoration generally emphasises the shoulder2 the lower part of the vase is unadorned and separated by stripes from the upper4 ,the next stage is that ,minyan ware and lustreless painting are almost everywhere driven out by ,creto-,mycenean #8,varnish' pottery4 ,in many places this process did not take place till the end of the ,bronze ,age1 as in ,thessaly1 ,central ,greece and ,attica 7,eleusis74 ,it was apparently ,illustration3 ,,plate ,,iv4 ,fig4 #e4 ,,kamares ,,vase ,,from ,,knossos4 ,fig4 #f4 ,,kylix ,,from ,,mycen4 the lords of the ,argolid who first and most freely opened their gates to ,cretan importation and influence2 in the shaft graves of ,mycenae1 famous for their rich treasure of gold1 discovered by ,schliemann in #ahgd behind the ,lion ,gate1 the oldest ,cretan import in the shape of vases of the first late ,minoan style 7p4 #aj71 appears beside ,minyan and lustreless ware 7,figs4 #d and #f74 ,by the side of these local products1 the #8,varnish' vases in the shaft graves appear like children of a strange and sunnier world1 representative of a quite different and superior style of art4 ,the idea that they came from ,crete has been confirmed by the excavations carried on since #aijj1 which in different parts of the island disclosed a compact civilization of markedly un-,greek character1 developing without a break from the third millennium to the end of the second1 which is in striking contrast to that of the mainland4 ,this civilization has been named ,minoan after the fabulous king ,minos1 the builder of the labyrinth1 and it has been divided into three epochs1 of which the first two precede the period of the shaft graves4 ,in the early ,minoan period1 following on the miserable ,stone ,age 7p4 #b7 the ,cretans must have laid the foundation of their riches1 if an inference may be drawn from the stone vases and goldsmith's work of ,mochlos4 ,the ceramic art enters on two paths1 which have a future before them4 ,the vases were hitherto unpainted and only incised4 ,now either they are covered with brilliant black paint 7#8varnish'7 on which the old patterns are painted in tenacious white colour1 a technique which celebrated its triumph in the subsequent period1 or the vases are left in the colour of the clay and painted with bands of #8varnish'2 to this so-called #8,mycenean' technique belongs the whole late period 7p4 #aj74 ,there is a special group of flamed ware1 the patterns of which1 like much that is ,minoan1 are far nearer to modern applied art than to ,greek4 ,even in the first half of this period the kiln seems already to be known2 the potter's wheel appears in the second1 which is characterized by the first appearance of curvilinear patterns1 especially the wave series and running spiral4 ,the ,middle ,minoan period1 a pure and richly-developed bronze civilization1 is the height of polychromy3 the clay is finely cleansed1 the black glaze is at its very best1 red in different shades occurs besides white4 ,a transition leads to the brilliant period of the ,kamares style1 named after the first discoveries in the ,kamares cave on ,mt4 ,ida4 ,the #8,mycenean technique' occurs not infrequently alongside of the polychrome2 but as it often edges the ornaments with incised lines or puts white spots on them1 it does not reject the tendency to richer effect1 which is a feature of the age and is also expressed in the relief-like ornamentation of many vases 7,barbotine74 ,the ornamentation is still very fond of linear patterns1 and also develops the spiral still further1 and lays the foundation of the numerous decorative motives which characterize the later periods2 living creatures also 7birds1 fishes1 quadrupeds7 are represented in painting4 ,the motive of drops falling from the brush1 which would be inconceivable in ,greek vase-painting proper1 occurs already4 ,there is a simultaneous use of decoration in bands1 and without division2 the emphasizing of the shoulder by ornamentation is found in contrast with the lower part decorated1 if at all1 with stripes 7,figs4 #c and #d74 ,the stock of forms increases1 and the imitation of metal-work is often unmistakeable4 ,in the ,kamares style proper 7,figs4 #e and #i7 polychromy 7white1 red1 and dark yellow on black7 reaches its highest development1 the greatest variety of plastic decoration appears1 the ,mycenean technique 7dark on light7 is relegated to the background4 ,illustration3 ,,plate ,v4 ,figs4 #g #h4 ,,funnel-,,vases ,,of ,,late ,,minoan ,i ,,style4 ,,from ,,palaikastro ,,and ,,pseira4 ,fig4 #i4 ,,kamares ,,pithos ,,from ,,phaistos4 ,the shapes become continually more delicate1 metal vases are often directly copied2 cups1 beaked jugs1 beaked saucers1 and amphorae with handles at the mouth are specially common4 ,the list of ornaments is much increased and can scarcely be described in few words4 ,by the side or in the place of geometrical motives1 crosses1 zig-zags1 groups of strokes1 and richly developed circle1 bow and spiral motives1 appear vegetable1 leaves1 branches1 rosettes1 and most important of all1 the continuous wavy tendril4 ,even living beings appear occasionally4 ,the plant ornamentation of the ,kamares vases is in a peculiar relation to nature4 ,though nature is here for the first time consistently imitated1 the reproduction is not at all #8naturalistic' but thoroughly and from the first severely stylized4 ,not only does the colouring bear no relation to the object represented1 not only is the combination of vegetable and geometric motives of purely decorative character1 but the natural object imitated is often barely recognizable4 ,the ,kamares potter only aims at a pretty combination of colour and line1 not at representations4 ,nor is he concerned with structural arrangement3 division by bands and emphasizing the lower part of the vase by leaves pointing upward are uncommon4 ,usually the decoration spreads freely over the field and is not subordinated to the structure of the vessel4 ,this undisputed predominance of the ornamentation is in the sharpest contrast to the procedure of ,greek art proper4 ,the ,kamares civilization1 starting from ,crete1 exercised influence over the islands of the ,aegean3 the importation and imitation of its ware can be proved for ,thera and ,melos4 ,isolated finds in ,egypt are of importance1 first because they prove the relation of ,crete to the ,nile valley1 and secondly because they give a fixed date 7,,xii ,dynasty74 ,the technique did not disappear with the ,middle ,minoan ,age1 but was long maintained alongside of the new style4 ,the ,kamares finds come mostly from the older palaces of ,phaistos and ,knossos4 ,the investigation of their ruins has shown that these buildings were destroyed by fire and soon afterwards replaced by still finer new edifices4 ,the vase finds in these later palaces show a complete break with the old style4 ,polychromy is no longer the principal attraction2 it is given only a secondary place3 the new style 7,middle ,minoan ,,iii and ,late ,minoan ,i1 ,figs4 #g1 #h1 #aj and #aa71 which is no longer satisfied with gay ornamentation1 but with fresh vigour essays the conquest of ,nature and her excellences1 throws off the bands of the old technique1 and with bold freedom depicts the newly discovered world in dark colour on light clay4 ,in contrast to the ,kamares style1 it did not arise on the vases themselves by the enrichment of an ornamental style1 but it is to be understood as the reflection of higher techniques4 ,vase-painting gives only a small extract from the rich array of subjects1 which the other lesser arts and the wall-painting of the period conjure before our eyes4 ,of the wonderfully vivid representations of men and animals1 in which the ,cretans were masters1 nothing is to be found on the vases4 ,this is certainly not an accident1 but a sign of the purely decorative feeling of these artists4 ,they did not want to stylize the human or animal body till it became decorative1 to distort it for the eye by placing it on a curved surface1 and by combining figures to upset the ease and flow of the decorative scheme4 ,thus they entirely gave up all reproduction of them1 and are thus in marked contrast with ,greek vase-painting1 the history of which may be regarded as a constant struggle to represent mankind and animal creation4 ,the ,cretans took to other objects instead1 which could be represented in the vigorous way they aimed at1 and yet also filled the field decoratively1 without any loss to the picture from the ,illustration3 ,,plate ,,vi4 ,fig4 #aj4 ,,stirrup-,,vase ,,of ,,late ,,minoan ,i ,,style ,,from ,,gournia4 ,fig4 #aa4 ,,amphora ,,of ,,late ,,minoan ,i ,,style ,,from ,,pseira4 curve of the vessel4 ,the vegetable world had entered the decoration of vases in the ,kamares period3 now it does so afresh1 but in a totally different spirit4 ,grasses1 branches1 ivy1 crocuses1 lilies as they grow and wave in nature1 surround the vases4 ,but these people were specially concerned with the sea1 marine plants and live creatures4 ,lotus flowers1 sea-weeds and reeds wave in the water1 the cuttle-fish stretches out his feelers1 the nautilus swims about1 starfish and snails1 corals and sea-anemones surround the living objects1 and dolphins gambol around4 ,what impelled the ,cretan vase-painters thus unweariedly to represent the marine world exclusively on vases8 ,the explanation can only be sought in that supreme law of the development of artistic style1 the talent for invention in a few pioneer brains and the slowness in invention of the many4 ,the excellent idea of having the cool liquid in the vases surrounded by this decorative play of marine life1 which filled the field and was so life-like1 perhaps came from a single gifted brain4 ,the idea became popular1 and the common run of vase-painters created countless variations of the theme4 ,the excellent naturalism directly inspired by nature1 which it transfers with a bold brush to the vases1 is limited to a short creative period3 immediately the schematic and conventional assert themselves2 life disappears1 but fixed decorative formul remain1 and to them the future belongs4 ,moreover1 the stylized ornamentation never ceased to exist alongside of the natural2 nay1 often appears on the same vase in conjunction with it1 in the shape of wavy lines1 spirals in different combinations1 continuous tendrils 7which are also treated naturally7 or stylized plants4 ,thus two methods of decoration are in contrast1 one #8tectonic' with arrangement in bands1 another1 which freely scatters naturalistic representations over the vase1 a kind of ornament which has made almost everyone who has spoken of it adduce the parallel of ,japanese art4 ,the freely adorned vases are also most characteristic of the art of the ,cretans1 and show most plainly their gay and heedless manner1 their free decorative work1 their direct relation to nature1 foreign to abstraction and idea3 they set this art in contrast with the contemporary old civilizations of the ,nile and ,euphrates as well as with the ,greek4 ,the naturalism of the first ,late ,minoan period has narrower limits than has been usually estimated4 ,not only is the stock of themes scanty 7,fig4 #aa is an exception72 but also the reproduction of nature is purely superficial1 knows nothing of perspective or shading1 and stylizes the forms into the style of decorative drawing3 thus1 for instance1 the marine world is represented without any indication of water4 ,of course1 this does not mean that such abstraction from reality is not an advantage from the point of view of decorative art4 ,often the vase-shapes show a cultivated feeling for form in the way the body swells and contracts1 but appear simple and constrained when compared with the fine lines of contour in the next period4 ,among new types that emerge may be mentioned the #8stirrup vase' 7,fig4 #aj7 and the #8funnel vase' 7,figs4 #g and #h74 ,the superiority of these ,cretan vases to all contemporary ceramic output showed itself in a vigorous export4 ,the ,egyptian finds of this ware give as a date the ,,xviii dynasty1 approximately #aejj ,b4,c41 a date confirmed by some ,egyptian objects found in ,crete4 ,cretan vases were also exported in quantities to ,melos and ,thera3 there the native industry loses itself in imperfect imitations of this imported ware4 ,the ,cretan civilization also enters the ,greek mainland1 especially the ,argolid4 ,the shaft graves of ,mycenae 7p4 #g71 from which the ,late ,minoan civilization transplanted to the mainland has been named #8,mycenean1' ,illustration3 ,,plate ,,vii4 ,figs4 #ab #ac4 ,,amphor ,,of ,,the ,,palace ,,style ,,from ,,knossos4 are the oldest instance of this fact4 ,the imported vases of the six graves are distributed over the whole of the first ,late ,minoan 7early ,mycenean7 period1 containing late specimens of ,kamares style and early specimens of the ,palace style3 but the bulk of the #8varnish' vases found on the mainland belong to the succeeding period4 ,the second ,late ,minoan period of vase production in ,crete1 the so-called ,palace style 7,figs4 #ab and #ac7 is not so sharply divided from the first1 as the latter is from the ,kamares style4 ,both phases are connected by several transitional forms and run parallel for a time4 ,an important difference is that the last traces of the ,kamares technique 7the imposition of white1 red and orange on a black ground7 disappear3 there is simply painting in black on light clay 7,mycenean technique74 ,the decoration neglects the neck and foot of the vessel and emphasizes the shoulder1 particularly with the characteristic half-branches4 ,the animated reproductions of nature in the preceding style are treated in a fanciful way2 they become fixed and are changed into ornaments and patterns for filling2 the significant unity of the design is interrupted by foreign elements2 the marine and plant ornamentation now never covers the whole vase but retires into a single band4 ,in short1 the naturalistic style gives place to a tectonic style1 the representations are not the chief thing aimed at1 which is the filling of the space4 ,beside the ornaments produced by the schematizing of living natural forms come new ones1 which often look like a borrowing of architectural forms2 moreover1 the juxtaposition and combination of the ornaments show the same spirit1 and also the emphasis now laid on the shape of the vase1 in which the structure and the swinging contour reach their highest form of elegance1 as can be seen most plainly in the amphorae4 ,this art had a wide influence outside ,crete4 ,to the beginning of the period1 the transition from the first to the second ,late ,minoan style1 belong many mainland finds1 especially from domed tombs1 in ,peloponnese 7,vaphio1 ,argos1 ,mycenae1 ,old ,pylos71 in ,attica 7,athens1 ,thorikos1 ,spata71 in ,boeotia 7,thebes1 ,orchomenos7 and in ,thessaly 7,volo74 ,the finds continue during the period of the developed ,palace style4 ,the majority of these #8varnish' vases seem not to have been imported from ,crete but made by ,cretan artizans in the country4 ,the ,mycenean local princes1 who from their lofty citadels controlled the surrounding country1 surrounded themselves more and more with the splendour of this southern civilization1 ordered weapons1 ornaments1 precious vases from ,crete1 used them in life1 gave them to the dead in graves2 they also took into their service foreign artists1 and gave employment to ,cretan masons1 painters and potters4 ,the islands too acquire ,cretan vases3 they were exported as far as ,aegina1 ,melos1 distant ,cyprus1 and the sixth city of ,troy4 ,about the end of the second ,late ,minoan period the ,cretan palaces of ,phaistos1 ,knossos1 and ,hagia ,triada are destroyed1 and with the destruction of these and other sites the ,palace style decays4 ,the pottery of the ,late ,mycenean 7or third ,late ,minoan7 period 7,figs4 #ad-ag7 is very inferior to that of the ,palace style4 ,the technique is at first neat but afterwards falls off3 the smooth yellowish clay takes a green tinge1 the brilliant glaze colour1 often burnt red1 becomes a lustreless black4 ,the ornamentation consists of the last remains of the naturalistic decoration1 now become quite lifeless and poor1 with which are associated purely geometrical patterns of the simplest kind1 wavy lines1 spirals1 concentric circles4 ,rectilinear patterns 7groups of strokes1 hatched triangles7 become ever more prominent4 ,the decoration is generally ,illustration3 ,,plate ,,viii4 ,fig4 #ad4 ,,late ,,mycenean ,,cup ,,from ,,rhodes4 ,fig4 #ae4 ,,late ,,mycenean ,,stirrup-,,vase ,,from ,,rhodes4 very loose1 emphasizes the shoulder band1 and usually puts on the lower half of the vase only a few stripes3 vertical division of the field into #8metopes' is common4 ,but1 on the other hand1 figured representations are not unusual on late ,mycenean vases4 ,two classes can be distinguished off-hand3--7a7 animal representations1 in traditional ornamental style and very #8geometrical' in treatment1 particularly birds with cross-hatched bodies1 certainly continuations of the old lustreless painting 7cp4 ,fig4 #d with ,fig4 #ae72 and 7b7 larger compositions taken over from wall-painting1 often provided with ornaments to fill the field1 like the chariot-race on the krater from ,rhodes 7,fig4 #ag74 ,the best-known example is the ,warrior vase from ,mycenae representing the departure for the battle-field4 ,apart from these figured representations1 one may say that ,cretan vase-painting1 after its brilliant achievements in the ,kamares1 shaft grave1 and ,palace styles1 sinks down to that primitive level from which it started3 it becomes once more a geometrical style4 ,the area over which we find this pottery is enormous1 being practically the whole ,mediterranean basin1 ,crete1 ,egypt1 the ,cyclades1 the coast of ,asia ,minor 7sixth city of ,troy7 and its adjacent islands 7e4g4 ,rhodes71 ,cyprus 7where the ,mycenean supersedes an old and plentiful pottery akin to that of ,troy71 ,phoenicia1 ,italy1 ,sicily1 and especially all important sites of the ,greek mainland4 ,in many places1 where the #8varnish' painting did not enter earlier1 it now comes into contact with the old indigenous technique1 with the monochrome1 incised and lustreless vases3 many backward settlements1 like ,olympia1 seem to have had practically no acquaintance with the ,mycenean style4 ,here again the ,egyptian finds give us a date3 they last from about the end of the #aeth down into the #abth century4 ,but since it is not conceivable that we should date the ,geometrical period1 which followed the ,mycenean1 back into the second millennium1 the late ,mycenean style must have lasted at least four centuries2 the rate of development1 which in the time of great achievements had been very rapid1 must have become considerably slower4 ,to arrange the huge mass of late ,mycenean vases in this long development is impossible1 until the material has been sifted and worked through4 ,but one thing already can be said with certainty1 that it was not merely exported from ,crete2 indeed it is more than questionable1 whether ,crete played the leading part4 ,in this period the native seat of the brilliant ,minoan civilization is no longer in the foreground2 the centre of gravity has shifted to the mainland1 in particular the ,argolid4 ,even in the period of the shaft graves we see the ,peloponnesians eagerly adopting ,cretan civilization2 in the following period the mainland vies with ,crete in the production of ,mycenean vases1 and finally must have wrested the lead from the southern outpost4 ,this applies not merely to civilization but to political conditions4 ,a hypothesis1 in favour of which there is much to be said1 connects the destruction of the ,cretan palaces with the invasion of conquering #8,achaeans1' the name ,homer applies to the lords of the mainland4 ,just as the wall-painting originally borrowed from ,crete was still flourishing on the mainland1 when it had died out at home1 so the late ,mycenean pottery must have been produced mainly in continental ,greece1 and the new style must have been formed by the ,peloponnesians4 ,thus we can explain the non-,minoan elements1 the strong geometrical influence on the decoration1 and the taking over of figured scenes from wall-painting1 which was rejected by the old ,cretans4 ,so it was probably the #8,achaeans' who spread the late ,mycenean pottery all over the ,mediterranean4 ,they had ,illustration3 ,,plate ,,ix4 ,figs4 #af #ag4 ,,late ,,mycenean ,,vases ,,from ,,rhodes4 become a seafaring nation on a great scale4 ,of their entry into ,crete we have just spoken1 of their united campaigns of conquest in ,asia ,minor1 in which the ,cretan king has the ,argive ,agamemnon as his overlord1 the ,homeric poems tell us1 and of their colonizing expansion in the ,mediterranean the vase finds among other things give evidence1 as they justify conclusions about new localities of manufacture 7,troy1 ,rhodes1 ,cyprus1 etc474 ,in the beginning of the first millennium the scene is totally altered4 ,on the coast of ,asia ,minor and the islands are settled ,hellenic races1 among which the ,aeolians and ,ionians are probably descendants of the emigrated ,achaeans1 while the ,dorians represent a new tribe come in from the north1 which subdued the ,peloponnese and ,crete and extended to the south of the ,aegean ,sea4 ,these shiftings of population1 the so-called ,dorian invasion1 with which ,greek historians begin the history of their country1 mark the end of the ,bronze ,age and of the ,mycenean civilization4 ,iron weapons1 only sporadically to be found in the late ,mycenean age1 take the place of bronze2 the ,mycenean vase style vanishes all along the line1 and gives way to a new style1 the ,geometric4 ,,chapter ,,ii4 ,,the ,,geometric ,,style ,now for the first time the history of ,greek vases proper begins4 ,in the pottery of the geometric style are latent the forces1 which we see afterwards expanding in contact with the ,east1 as well as the oldest beginnings that we can trace of that brilliant continuous development1 which led to the proud heights of ,klitias1 ,euphronios1 ,meidias4 ,its producers may be unreservedly described as ,greeks3 ,hellas has come into being4 ,however primitive the civilization of this early ,greece may have been1 however patriarchal is the picture which ,homer1 the great genius of this period1 gives us of this world1 however much the works of art described by him point to ,mycenean reminiscences and ,phoenician importation1 yet in the department of ceramics the art of this time was thoroughly original and highly developed1 and it is from the vases that this early phase gets its name4 ,we should like to have a glimpse of the origin of the ,geometric style1 but its beginnings are shrouded in darkness4 ,it cannot be regarded as simply a descendant of the pre-,mycenean ,geometric pottery1 which in outlying parts continued throughout the ,bronze ,age2 for in its #8varnish' technique1 its forms and decoration1 it is totally different from those primitive vessels4 ,as little is it a direct continuation of the ,mycenean style1 from which it took over the technique of painting4 ,however much towards the end of its development the latter inclined to decoration in bands and the geometrizing of ornament1 it was an outworn poor style that arose out of schematizing of living forms1 in complete contrast with the clear concise ,geometric style1 which consistently unfolds and exhausts its individuality4 ,naturally the ,mycenean style did not disappear abruptly from the face of the earth1 and there are transitional forms1 which cannot be nicely divided4 ,they must not be too highly estimated2 they are1 it is true1 at the beginning of the new development1 but do not influence it4 ,thus the #8,salamis' vases1 and their parallels from ,athens1 ,nauplia1 and ,assarlik in ,southern ,asia ,minor1 show this transition1 retaining in part ,mycenean forms like the stirrup vase1 and ,mycenean ornaments like the spiral1 but being in fact an insignificant ware1 of bad workmanship and meagre decoration4 ,more interesting is the survival of ,mycenean traditions in ,crete1 the home of the ,minoan style1 and in the ,argolid1 the chief seat of late ,mycenean civilization3 certain vase-shapes1 hatched triangles1 concentric circles and semi-circles on the shoulder are retained from the old style4 ,from these and other ,mycenean reminiscences the unfolding of the new style cannot be explained any more than by a revival of pre-,mycenean ,geometric styles4 ,we must rather bring in1 to explain the phenomenon1 those movements of peoples1 the driving out of southern ,mycenean civilization by races advancing from the ,north1 and the new mixture of blood1 which strengthened and made dominant the northern ,european element4 ,though the ,dorians did not develop the style as conspicuously as other tribes1 there arose out of the ferment caused by their appearance on the scene the new creative vigour1 the ,greek element proper1 which1 out of the frozen traditions of the mainland and the lifeless relics of ,mycenean art created a new style and a firm basis for a fine development4 ,the ,geometric style makes a virtue of the necessities of rude beginnings2 out of the simple decorative material at its disposal1 it creates a rich system4 ,angular patterns1 rows of dots1 strokes1 #8fish-bones1' zig-zags1 crosses1 stars1 hooked crosses1 triangles1 rhombi1 hook maeanders1 maeanders broken up in different ways1 maeander systems1 chequers1 net patterns are most common2 alongside of them are circles and rosettes neatly made with the compass4 ,the wavy line1 which like the snake edged with dots perhaps comes from ,mycenean polyps1 takes a second place2 all other free ornamentation is eschewed2 the place of continuous spirals is taken by circles connected by tangents4 ,thus the ornamentation appears to be steeped in mathematics1 and the same is the case with the representation of living beings4 ,man and animal alike appear in stylized silhouettes1 which bring the various parts of the body into the simplest possible scheme1 and set them off sharply against one another4 ,thus the human breast appears as an inverted triangle and is shown frontally1 but the legs and head are in profile4 ,the head1 which is only emancipated from the silhouette style in the succeeding period1 already often has a space reserved in it to indicate the eye4 ,as a rule the human body is represented naked1 while towards the end of the period1 the instances of clothing1 especially of women1 become more numerous4 ,there has been division of opinion as to whether this nudity reproduces actual life4 ,that is certainly not the case4 8,this is the nudity of the primitive artist1 of the abstract linear style4 ,it is not man as he actually is1 but the concept #8man' which is to be rendered1 and clothes are no part of this concept40 7,furtwngler74 ,these oldest ,greek representations of man are not1 properly speaking1 reproductions of nature1 but a kind of mathematical formul21 which gradually in the course of centuries of fresh observation of ,illustration3 ,,plate ,x4 ,fig4 #ah4 ,,attic ,,geometric ,,amphora 7,,dipylon ,,class74 ,fig4 #ai4 ,,geometric ,,amphora1 ,,probably ,,attic 7,,black ,,dipylon ,,class74 nature become richer1 corporeal1 living1 spiritual4 ,animal representation begins also in the same formulistic manner4 ,the choice is in contrast with the ,minoan animal world3 there is complete absence of the ,oriental animal world of fancy2 we only see the ,northern fauna2 horses1 roes1 goats1 storks1 geese4 ,the animals stand upright1 graze1 or rest with neck turned round4 ,the technique is always that of the pure silhouette2 only the birds often1 as in the pre-,mycenean and late ,mycenean styles 7,figs4 #d and #ae71 show hatched or cross-hatched inner drawing of the body4 ,these geometric ornaments and abstract silhouettes of men and animals form the complete stock out of which the artist of the period provides for the decoration of his vases4 ,with them he fills the bands into which he loves to divide the vase 7,fig4 #ah72 or at all events the shoulder or handle band1 constructively the most important1 in which case he covers the lower part of the vase with black 7,fig4 #ai7 or with parallel rings 7,fig4 #bc74 ,the bands1 the breadth of which is varied1 are filled in two ways4 ,either we have continuous ornaments1 and processions of animals1 chorus dancers1 warriors1 chariots and horses1 which in this style are essentially nothing but ornament2 or he divides the bands1 and particularly the handle bands 7,fig4 #ai7 vertically into rectangular fields1 metopes as they are called4 ,the metope naturally takes a different scheme of filling the space from the band2 if the latter prefers a continuous series1 the former requires ornaments complete in themselves1 like circles and rosettes1 or in the case of figures1 the antithetical group1 the heraldic opposition of two different fields of figures1 or of two figures in the same field4 ,the figures connected by compulsion of space are then more closely united by a central motive1 and there arise ornamental compositions not at all drawn from actual life1 e4g4 two birds both holding in their beaks a fish or a snake1 two horses with crossed fore-legs1 rearing towards each other1 tied to a tripod1 or held by a man with a bridle1 two roes with raised fore-legs leaning against a tree4 ,band and metope with their compulsory schematism no longer suffice for the growing need of representation3 in the large vases the chief band is often made very high1 or in the upper part of the vase a rectangle adorned with ornament or figures is left out from the surrounding black3 thus arises the vase with special field for subjects4 ,legend1 which in this period found its brilliant expression in the ,epics of ,homer and ,hesiod1 is still very much in the background in these vase-paintings4 ,centaurs only begin to be represented on late ,geometric vases4 ,scenes such as the embarkation on the bowl from ,thebes 7,fig4 #ba7 cannot be interpreted otherwise than mythically1 as the rape of ,helen by ,paris or of ,ariadne by ,theseus1 since on ,geometric bronze fibul from ,boeotia it is certain that legendary scenes are intended4 ,the battle scenes too1 with their duellists surrounded by spectators and their fights on a large scale by land and sea1 must be inspired by the ,heroic ,saga4 ,but far more numerous are the scenes of daily life1 which are connected with the sepulchral purpose of the vases4 ,we see the dead man lying on the bed of state1 covered with a big cloth2 men1 women1 and children1 with arms raised to their heads in token of grief1 are standing1 sitting and kneeling around him2 we see the bier placed on the hearse1 and amid loud lamentation of the populace driven to the cemetery1 while1 in honour of the deceased1 chariot-races and mimic battles are represented and dances are performed to the sound of flutes and lyres4 ,as the human form is rendered without any feeling for bodily shape1 so all the representations are without any spatial sense4 ,chariot floors and table surfaces are not fore-shortened1 the breast of the dead man lying on the bier ,illustration3 ,,plate ,,xi4 ,fig4 #bj4 ,,upper ,,half ,,of ,a ,,dipylon ,,grave-,,vase4 ,fig4 #ba4 #8,,the ,,rape ,,of ,,helen1' ,,on ,a ,,bowl ,,from ,,thebes4 is represented in front view1 the covering of the corpse is visible in its complete extent1 as if it hung down upon it2 in the case of pairs of horses the off horse is simply moved forward and represented smaller2 masses of men are rendered by files of similar figures2 figures to be thought of as in the background1 e4g4 the hinder rows in the ,helen bowl 7,fig4 #ba7 are placed high up4 ,the space1 which contains the figures1 is an ideal tectonic space1 the surface of the vase to be adorned4 ,where the figures do not suffice to fill this space1 the ,geometric artist regards it as a gap in the decoration of the vase and fills the void with dots1 rows of zig-zags1 hooked crosses1 rosettes with a central point1 and actually paints birds or fishes between the legs of horses or between the chariot and the bier which rests upon it 7,fig4 #bj74 ,this even covering of the surface gives the vases of this period a carpet-like appearance1 and this textile impression is strengthened by the geometry of the ornamentation1 by the angular stylization of the living beings1 by the decorative schemes and the division into bands4 ,but on this account to derive the whole style from the imitation of works of the loom would be a mistake2 the stylistic limitations of the style cannot be identified straight off with the technical limitation of weaving4 ,as in all primitive civilizations so in the formation of the ,geometric vase style1 simple linear patterns may have been taken over from weaving and plaiting3 but this is not the case with circles and rosettes1 and anyhow such a consistent and systematic perfection as that of the ,geometric vase style is inconceivable as an imitation of a foreign technique4 ,greek ceramic art never completely lost this #8textile' character1 and never quite renounced the ,geometric school through which it passed1 though by centuries of labour it freed itself from the defects and crudities of that school4 ,vase-figures long exhibit their origin out of the ornamental silhouette2 the decorative schemes of arrangement in rows and of antithetic groups are always breaking out afresh2 the principle of using up the space is applied superficially for some time and only gradually refined2 the decoration in bands subsists for a long time beside the vases with a pictorial field1 and remains of it exist till late2 the disinclination for deepening the field1 based on a correct structural feeling1 goes through the whole history of ,greek vases and keeps the ornamental figure world of the vases always at a distance from the much less constrained world of free painting4 ,the ,geometric vases have not merely a historical meaning1 but a value of their own4 ,they are not a preliminary stage1 but something complete4 ,in them ,greek art in true ,greek fashion worked out a thought2 expressed itself for the first time in a classical way1 if the phrase may be used2 out of a clumsy rustic style with poor ornamentation developed vases of technical perfection1 compact and clear in form1 consistently thought out in the decoration now lavishly1 now sparingly spread over them1 in their austere beauty true children of the ,greek genius4 ,but this style did not put out everywhere equally fine flowers4 ,it was not1 like the late ,mycenean1 an #8imperial' style1 but1 from the first--and this is significant for ,greek art--differentiated and conditioned by locality2 each region had its own manufacture of vases1 and its own ,geometric style4 ,already the lead is taken by that place1 which later was to drive out of the field all competitors1 viz41 ,athens4 ,the ,dipylon vases--the name usually given to ,attic ,geometric vases from the fact that most of them were found in the cemetery before the ,dipylon ,gate1--rise in form1 technique and decoration to the greatest perfection and highest richness4 ,in the magnificent amphor1 as much as two metres in height1 which are worthy of their monumental use as tomb decoration1 the ,geometric style perhaps reaches its culmination2 in the so-called black ,dipylon vases1 often only sparingly decorated on the shoulder or neck and otherwise covered black1 we get already an effect of colour which became popular much later2 the stock of forms is ampler1 the maeander more developed1 the delight in telling a story and in representing a scene greater than in other ,geometric styles4 ,beside the ,dipylon there is a second site in ,attica1 ,eleusis1 though not so important2 ,boeotia too must be mentioned1 the pottery of which makes a provincial impression1 and is dependent in forms1 patterns and subjects on ,attica and the ,aegean islands1 as also that of the neighbouring ,eretria in ,euboea4 ,the prototypes of the big ,boeotian and ,eretrian amphor with high stem and broad neck have been found particularly in ,delos and ,rheneia1 richly ornamented vases #8de luxe1' in which the painting is laid on a white slip4 ,in the same place1 where the cult of ,apollo had a great attraction1 several other ,geometric classes were also found1 among them the precursors of the art which flourished in the #gth century and which is usually ascribed to the island of ,melos4 ,on the ,delian vases horses and human representations occur1 but generally in this class there is a disinclination to represent figures4 ,the same disinclination and the frequent use of a light slip characterize the pottery of the ,dorian island of ,thera1 which developed a very definite though sober and monotonous ,geometric style that seems to have obstinately persisted till well into the #gth century4 ,the rich finds of other classes bear witness to an active trade with the mainland1 other ,cyclades1 and the ,ionic ,east1 the pottery of which has many points of contact with the ,cycladic4 ,we know it from ,miletus and other places on the ,asiatic coast1 but above all from the island of ,rhodes4 ,the ,rhodian ,geometric vases are distinguished from the ,cycladic by the absence of the light slip1 and seem in spite of many points of contact never to have reached the same level4 ,an isolated vegetable ornament1 the so-called palm-tree1 points to relations with ,cyprus4 ,cross-hatched rhombi and birds are very much in vogue2 they appear also in loose arrangement on the #8,bird kylikes1' which in post-,geometric times extended from ,rhodes over the ,ionian region and so made their way to the ,greek mainland1 ,italy and ,sicily4 ,the most important ,peloponnesian manufactures are3 7#a7 that of ,sparta1 which now to some extent adopts the white slip later predominant2 7#b7 that of ,argos1 which soon discards its ,mycenean reminiscences and develops on parallel lines with the ,attic ware without attaining to the heights and richness of the ,dipylon vases2 7#c7 above all1 the so-called ,protocorinthian4 ,this ,geometric style1 which next to the ,attic had the greatest future before it1 seems to be at home in the ,northern ,argolid 7p4 #cd74 ,its early ,geometric beginnings we do not know4 ,it is akin to its ,argive neighbour in many points1 in the scantiness of its stock of forms1 in shapes like the metallic krater with a stirrup-handle4 ,unfortunately little has been left to us of the large-sized vases1 kraters1 cauldrons1 amphor and jugs4 ,the two-handled cup 7,fig4 #bc71 the round box1 the globular oil-flask1 the deep drinking-cup1 the jug with flat bottom 7,fig4 #cc7 are the favourite smaller shapes4 ,the limitation of the decoration to the upper margin1 and the decoration of the rest with parallel stripes is characteristic4 ,this ware was more exported than any other ,geometric class2 it entered the southern ,argolid1 went by way of ,corinth and ,eleusis to ,boeotia and ,delphi1 and was exported to ,aegina and ,thera1 ,italy and ,sicily4 ,on ,italian soil1 in the ,euboean ,illustration3 ,,plate ,,xii4 ,fig4 #bb4 ,,rhodian ,,geometric ,,jug4 ,fig4 #bc4 ,,protocorinthian ,,geometric ,,skyphos4 colony of ,kyme1 it certainly founded a branch factory1 which quickly took on a local character and exported in its turn2 but in various other places also the style evoked local imitations4 ,the ,protocorinthian style owed its brilliant future both to the ,geometric foundation1 and1 as will appear1 to the strong influence of ,cretan ,art4 ,in ,crete1 after the settlement of the ,dorians in the island1 no definite ,geometric style was formed3 the ,mycenean traditions were too strong and the relations with the ,east too close4 ,after the purely ,geometric vases1 among which wide-bellied amphor without a neck are common1 there soon appear vases showing ,cyprian influence1 particularly small jugs with concentric circles on the body 7precursors of ,fig4 #bg72 thus a pitcher from ,kavusi1 which by an exception has figures on it 7a charioteer and mourning women in a metope-like arrangement7 is apparently1 in shape as well as in the ornament which consists of a row of #8,s's' on their backs and the un-,geometric drawing of its silhouettes1 dependent on similar ,cyprian models4 ,crete with its loosely-rooted ,geometric style took up the new elements more freely than other localities1 where at first they are placed side by side with the native ones1 like the palm-tree on ,rhodian vases1 the ,cyprian circles on ,attic and ,protocorinthian jugs1 the precursors of the tongue pattern on ,attic and ,theran vases1 the unsystematic rays on ,attic and ,protocorinthian ware1 the running spiral probably borrowed from metal work on ,protocorinthian and ,theran vases4 ,moreover1 figured representations from an alien world of ideas creep into the fixed ,geometric systems1 as for instance the two lions devouring a man on a ,dipylon vase1 the goddess flanked by two animals on a ,boeotian amphora1 the fabulous creatures on ,rhodian vases4 ,these foreign elements1 which have their root in ,oriental art1 are the harbingers of a complete revolution1 and in them is heralded the end of the ,geometric style4 ,it is obvious that a decorative style like the ,geometric could have no future3 its possibilities were quickly exhausted1 even where the style was most richly developed4 ,its dissolution would have come1 even if superior civilization with richer methods of decoration had not been in close contact of trade and intercourse with this early ,greek world1 and exercised on it a persistent influence4 ,the ,cretans and ,eastern ,greeks lived in the immediate neighbourhood of ,egypt and ,asia1 the islands and the mainland were united to the ,east by active trade relations4 ,in particular ,phoenician merchants1 while the ,geometric style was flourishing1 handed on to the ,greeks the products of ,oriental art1 as both the ,epic and the finds testify4 ,nor did the ,greeks remain at home either1 but had long become a seafaring people2 ,attic1 ,boeotian and ,protocorinthian painters proudly place representations of ships on ,geometric vases2 the statistics of the finds of the various ,geometric wares show a constantly growing trade intercourse4 ,colonisation too has already begun1 and is ever expanding2 according to the earliest vase finds ,syracuse1 ,kyme1 and perhaps also ,massilia and the ,black ,sea coast received settlers1 while their mother-cities still had ,geometric pottery4 ,since ,syracuse was founded in the second half of the #hth century and its oldest graves contain late ,geometric vases1 we obtain an approximate date for the end of the ,geometric style4 ,the objects of ,oriental ,art1 which were brought before the eyes of the ,greeks by this active intercourse1 powerfully stimulated their fancy4 ,the crowd of decorative motives from vegetation1 the world of fantastic animals1 and the superiority of ,oriental ,art in the rendering of life1 drew ,greek vase-painting out of ,geometric uniformity and pointed it to new paths4 ,illustration3 ,,plate ,,xiii4 ,fig4 #bd4 ,,attic ,,geometric ,,kylix4 ,figs4 #be #bf4 ,,cretan ,,jugs ,,in ,,the ,,first ,,orientalised ,,style4 ,,chapter ,,iii4 ,,the ,,seventh ,,century ,as the ,oriental motives pour into the ,greek world1 a new development begins1 which in the details of its course is still hard to grasp1 the collision of the native ,geometric style with ,oriental influence1 the fusion of both elements into a new unity1 and the growth of the archaic style4 ,in contrast with the quiet and consistent unfolding of ,geometric style1 the process to anyone who goes deep into its details takes on the character of a restless fermentation1 and an almost dramatic tension4 ,it occupies1 roughly speaking1 the #gth century4 ,without forgetting how arbitrary divisions in the history of ,art must always be1 let us here treat as one the period from the end of the ,geometric style to the abandonment of filling ornament1 the change in technique of clay and colouring1 and the formation of the established body of black-figured types4 ,the smelting process took on a different character in the different regions1 according to the tenacity with which the old style was retained1 and the intensity of the contact with the ,east4 ,in most places there follows first a period of hesitation and experimentalism1 out of which finally the new style is formed4 ,nowhere does the ,oriental element simply take the place of the ,greek ,geometric2 the acquisitions of the old style1 the fixed vase shapes1 the principles of decoration1 and the technique1 remain and are further developed4 ,greek pottery was much too highly and richly developed1 too firmly rooted1 to find it necessary to imitate ,oriental clay vases4 ,the stimuli were of much more general nature2 they are chiefly visible in the ornamentation and pictorial types1 they are taken from metal vases and richly embroidered materials1 from costly carpets1 articles of jewellery1 engraved gems1 and other fine things1 which the foreign trader or the seafaring ,greek brought from the ,near or ,far ,east or saw with his own eyes abroad4 ,it became apparent to him1 that the ,geometric style was really poverty-stricken and mathematical4 ,the feeling for finely-drawn line and vivid reproduction of life awoke in view of the freer ,art of the ,east2 the ,greek made the ,oriental models his own and created out of them and the mathematical element a new ,art4 ,not all stimuli come direct from the ,east2 perhaps only comparatively few1 which were then passed on1 were constantly altered and took on varied local colour4 ,it looks as if the stream of ,oriental influence took two different routes1 one by way of the ,greek ,east 7,rhodes1 ,samos1 ,miletus7 and another by way of ,crete1 which evidently had a strong influence on the ,cyclades and ,peloponnesus4 ,in ,crete ,phoenician metal objects have been found1 which were imported during the ,geometric period1 and the ,cretan ,geometric pottery soon takes up motives of decoration borrowed from the ,oriental or ,orientalizing metal industry4 ,the row of #8,s's1' which plays a part in ,geometric bronzes1 appears as we have seen on the ,kavusi jug 7p4 #bg74 ,its climax is the cable pattern 7guilloche71 which is obviously borrowed from ,phoenician metal vessels 7,fig4 #bf74 ,the tongue pattern 7,figs4 #be-bg7 which surrounds the lower part and the shoulder of the vases1 like the rays similarly used 7,figs4 #ca-ce71 goes back ultimately to ,egyptian plant calyces4 ,the connection with bronze patterns is fully proved by the dots often placed on the ornaments1 by the technique of adding white on black painted vases 7,fig4 #bi7 ,illustration3 ,,plate ,,xiv4 ,fig4 #bg4 ,,cretan ,,miniature ,,jug4 ,fig4 #bh4 ,,the ,,flight ,,from ,,the ,,cave ,,of ,,polyphemus1 ,,from ,a ,,jug ,,from ,,gina4 which aims at a metallic effect1 and by the change of the vase shapes4 ,these often get a quite non-ceramic appearance 7,fig4 #be71 and in their rounding and contouring1 especially by the emphasis on the foot 7,figs4 #be and #bg71 they are in contrast with the ,geometric forms4 ,the ,praisos jug 7,fig4 #bf7 is obviously under ,cypriot influence1 as is the delicate ,berlin jug 7,fig4 #bg71 in which a previously described class 7p4 #bg7 reaches its high water mark4 ,the ,praisos pitcher 7,fig4 #be7 to the ,orientalizing patterns enumerated already adds the hook spirals1 which are characteristic of the #gth century1 and the ,berlin jug adds also the volute and the palmette4 ,the plastic head which crowns this little bottle1 and is entirely inspired by the ,egypto-,phoenician ideas of form1 inaugurates a new era in the representation of man4 ,we are now in the time when ,greek sculpture was born1 in that notable period when ,greek art under the influence of ,oriental art took to the chisel1 to enter on a century of development which ended in giving shape to the loftiest and most delicate creations that can move the spirit of man4 ,it is noteworthy that ,greek tradition embodied the beginnings of this development in a ,cretan1 ,daedalus1 and to a kinsman of this ancestor of all ,greek sculptors it traced back the invention of the great art of painting1 without the influence of which we cannot conceive of vase-paintings henceforward4 ,the first period of the transitional style betrays little of this influence4 ,the reproduction of living beings is dominated by the decorative figures of the ,east1 especially monsters and fabulous beings1 which now make their entry into ,greek art1 and exercise a powerful attraction not only on plastic art1 but on poetic and mythopic fancy4 ,thus the ,geometric silhouette is superseded4 ,if even the preceding age had felt the need of leaving void a hole to indicate the eye1 now the head is completely rendered by an outline and made lifelike by interior drawing 7,fig4 #cj74 ,the next stage is that the whole body also is rendered in contour4 ,to make the transition plain1 we show here a vase-fragment1 the ,cretan origin of which is not established1 but which must be in close connection with ,cretan art1 the ,ram jug from ,aegina 7,fig4 #bh74 ,the animal frieze1 with its hook spirals1 dot rosettes1 rhombi and triangles to fill the space1 is characteristic of older ,oriental art2 the drawing of the rams is far beyond ,geometric technique2 in the body too the silhouette is given up1 and indication of the hide is attempted4 ,this animal frieze is no longer an end in itself3 by the men clinging to them the ornamental rams become mythical rams1 the rams of the ,odyssey4 ,the fugitives are not very closely connected with their saviours1 and the giant must have been more than blind not to notice them4 ,but on the other hand the artist has drawn them very clearly1 has put both arms and both legs in view of the spectator1 and even1 where a small detail would not otherwise have shown well1 made a small nick in the belly of the ram4 ,this shows how the artist of the period could with difficulty do without a clear outline4 ,these attempts are perfected in the outlined figure of a plate from ,praisos1 which is certainly ,cretan 7,fig4 #bi74 ,the childishly disproportioned structure has now become a clear organism of genuine ,greek stamp1 full of excellent observation of nature2 the ornamentally constrained picture becomes now a free version of a legend1 which however cannot be interpreted with certainty1 till the white object under the sea-monster has been explained4 ,it is most likely that we may see in it the foot of a female figure filling the left half of the plate1 perhaps ,thetis1 who escapes from the attacks of ,peleus by changing into a fish4 ,the interior incised lines in the body of the sea-monster are a novelty1 which the ceramic art has developed ,illustration3 ,,plate ,,xv4 ,fig4 #bi4 ,,herakles ,,and ,,sea-,,monster 787 ,,from ,a ,,cretan ,,plate4 ,fig4 #cj4 ,,argive ,,krater ,,with ,,the ,,signature ,,of ,,aristonothos3 ,,seventh ,,century4 independently 7p4 #cg74 ,but on the other hand the advance in drawing and the technical rendering of form1 the outline of ,peleus1 the light colour of the woman1 the reddish brown tint of the rider on the reverse1 cannot be explained apart from the influence of free painting1 whose oldest stages are stated to have been outlining with progressive drawing of interior details1 monochromy 7i4e4 outline drawing with a filling of colour7 and distinction of sex by colour4 ,after an interval of several centuries wall-painting must have sprung up again and flourished in ,crete1 different to be sure in essentials from the ,minoan1 rather influenced by the ,east like the decorative art of the time4 ,in spite of the tendency to represent painting as #8invented' in ,greece1 ,greek tradition reluctantly admits that this art was indigenous and highly developed in ,egypt long before4 ,the bloom of ,cretan art seems not to have outlasted the #gth century4 ,finds give out1 and tradition expressly testifies to the migration of ,cretan sculptors to the ,argolid1 a district which also took over the inheritance of ,cretan vase painting4 ,of the two chief centres of ,argive ,geometric vase fabrication1 one which is to be sought in the region of ,argos and ,tiryns cannot be followed out very clearly4 ,the oldest ,greek vase signed by an artist1 the krater of the potter ,aristonothos with the blinding of ,polyphemus 7,fig4 #cj71 seems from the shape of the vase to belong to this class4 ,the complicated shape of the circle of rays1 the breaking up of the head silhouette1 the juxtaposition of the traditional sea-fight with the legendary scene1 are typical of the early ,orientalizing period2 certain parallels with the late ,mycenean ,warrior vase 7p4 #ae7 perhaps justify the conclusion1 that remains of the old wall-painting had an influence on the style4 ,like the ,aristonothos vase1 some stirrup-handled kraters with metope decorations continue ,argive ,geometric traditions4 ,these vases1 however1 are exclusively found in the ,west 7,syracuse7 and were probably made there2 they do not give faithful reflection of their ,argive prototypes4 ,a krater with tall foot and ornamentation in bands1 found at the ,argive ,heraion1 representing the rescue of ,deianeira1 with plentiful use of #8monochromy1' is too isolated to make a picture of this ,orientalizing pottery possible4 ,it cannot have played a leading part1 but must soon have been put in the shade by its near neighbour and rival4 ,for that the so-called ,protocorinthian fabrication is also at home in the ,argolid is proved by the fact that the chief places1 where the ware is found1 are ,argos and ,aegina1 and that quantities of small and hardly exportable ware are found at various places in the district4 ,the alphabet of the inscriptions agrees with this locality1 and so does the style1 which leads up to the ,corinthian1 whence the name has been given1 as well as the fact that the great trading-centre of ,corinth looked after the sale of the wares2 for the area in which they were sold is identical with that of the ,corinthian vases4 ,on account of these close relations with ,corinth1 the home of the ,protocorinthian vases has been sought with great probability in the neighbouring town of ,sicyon1 of which we are told that it was the place to which ,cretan artists migrated1 that it was the birthplace of ,greek painting and seat of a flourishing metal industry1 so that we are able to account for three ingredients of the new style4 ,for the ,protocorinthian style of the #gth century gave the most delicate development of ,cretan #8,daedalic' types1 particularly near its end2 fixed a clear style of figure representation and an ample store of types1 and developed its vase-shapes1 system of decoration and technique1 under the influence of metal patterns1 more severely1 precisely and richly than any ,illustration3 ,,plate ,,xvi4 ,fig4 #ca4 ,fig4 #cb4 ,,protocorinthian ,,lekythoi ,,with ,,battle-,,scene ,,and ,,slaughter ,,of ,,the ,,centaurs4 ,fig4 #cc4 ,,protocorinthian ,,jug ,,of ,,post-,,geometric ,,style ,,from ,,gina4 ,,early ,,seventh ,,century4 other contemporary centre of fabrication4 ,in it the vase history of the post-,geometric century culminates4 ,even in the ,geometric period which preceded it 7p4 #bf7 7the sparing ornamentation of which is in contrast with the ,dipylon pottery and its greater delight in using the brush7 metallic influence can be traced2 the simple running spiral certainly comes from incised bronzes4 ,the delicate two-handled cups closely connected with the ,geometric style 7,fig4 #bc71 with their well-cleansed clay1 improved glaze colour baked black to red1 and the reduction of the walls almost to the thinness of paper1 can only have been produced in competition with the metal industry2 and as a matter of fact delicate silver vases of the same shape have been found along with the clay copies of them in ,etruscan graves4 ,the lower part of the cups is at first painted black1 but soon it is surrounded with the circle of rays1 which according to the ideas of the new period emphasizes and makes clear the tectonic character of that part of the vase4 ,this motive also appears in the ,geometric decoration of the flat-bottomed jugs 7,fig4 #cc71 the unguent pots which show ,cyprian influence in their oldest globular shape1 the kylikes1 round boxes and other shapes1 though not always in the typical place1 and often also combined with other ornaments 7,figs4 #cj and #cb74 ,in spite of its ,geometrical treatment and its truly ,greek close combination with the system of decoration1 it does not disown the impulse it owes to ,oriental patterns 7p4 #cj74 ,the ,protocorinthian style also introduced its doubling 7,fig4 #cb71 which still survives in the #fth century 7,fig4 #ih74 ,the cable pattern1 borrowed as has been shown from ,oriental metal-work1 drives out the #8,s's' and the running spiral4 ,as a handle ornament it gets a rich enlargement 7,fig4 #cb71 the fine stylization of which1 no doubt1 was first produced in metal industry4 ,of the greatest importance is the adoption of loops1 volutes1 running tendrils and friezes of arcs1 which in combination with the palmette appear on the wall of the vase or as an upper stripe1 and from simple1 often loosely stylized beginnings1 expand with the help of the lotus-flower into a fine loop and flower ornament 7#8,rankengeschling'71 as in ,figs4 #ca1 #cb1 #ce4 ,that this ornamentation1 in spite of its rigid stylization1 was felt by the ,greeks to belong to the living vegetable world1 is shown e4g4 by the volute-complex1 behind which the hunter 7on the lowest stripe of ,fig4 #ca7 waits to catch the hare1 as well as behind the naturally drawn bush 7on ,fig4 #cf72 this shows that the #8volute tree' 7,fig4 #cd7 flanked by two sphinxes1 is thought of as a real tree4 ,on the other hand the ornaments in the field are quite as meaningless as in the older style3 to those used by ,geometric artists are now added the hook spiral1 and the rosette treated as a dotted star1 two ornaments we have seen already on the ,ram jug 7,fig4 #bh72 at first they are independent and can be used to form friezes1 later they become less and less prominent 7,figs4 #cb and #cd1 cp4 also ,fig4 #bh74 ,two further decorative motives lead us back into the region of metal-work1 the scale-pattern extending over the whole body of the vase 7,fig4 #ch71 which so often occurs in incised metal-work1 and the tongue ornament1 the typical decoration of bronze vessels1 which on clay vases as well often rises over the foot in place of the kindred rays1 but most commonly finishes the shoulder where it meets the neck4 ,both motives have already been met with in ,crete1 as applied on a black ground4 ,the black ground technique of the ,praisos jug 7,fig4 #bf7 is very popular with ,protocorinthian artists1 goes alongside of the clay-ground vases for the whole period1 and supplies richly coloured examples decorated with figures and ornaments of fine effect1 particularly in combination with a new technique1 which appears in the advanced style1 ,illustration3 ,,plate ,,xvii4 ,fig4 #cd4 ,,bellerophon ,,and ,,the ,,chimaera ,,from ,a ,,protocorinthian ,,lekythos4 ,fig4 #ce4 ,,protocorinthian ,,jug1 ,,known ,,as ,,the ,,chigi ,,vase4 being specially typical of scale and tongue ornamentation1 that of incision4 ,it is perhaps idle to inquire into its invention3 it is more important to establish the fact1 that it was first consistently and systematically applied to the black-ground vessels of the ,protocorinthian artists1 who were also famed for metal-work1 and gave a new stamp to the style at a time when the ,east used simple brush technique almost exclusively4 ,the incised line is always combined with the addition of coloured and particularly red details4 ,the technical advance1 which in some measure replaced the influence of the rising art of painting by that of metal-working1 is shown more plainly in the figured representations1 particularly the friezes of animals1 which the vase-painters1 inspired by ,oriental metal ware and embroideries1 with ever greater zest employ on their vases4 ,beside the birds1 stags and roes1 beside the dogs pursuing hares1 with which a lower stripe could be easily filled1 come new animals1 for which they are chiefly indebted to ,oriental art1 bull1 goat1 bear1 ram1 wild-goat1 lion and panther1 sphinx1 siren1 griffin1 and other hybrids4 ,these creatures appear in quite definite types1 which admit of little variety3 it is characteristic that the panther's head is drawn in front view1 perhaps through an abbreviation of a heraldic double panther2 and this rule is devoutly observed through the whole period of decoration with animal friezes4 ,an indication of this is that the decorative animals never become pure outlines like the human figures1 but after a period of partial silhouette 7p4 #ca71 return to the complete silhouette1 as satisfying better the requirements of decoration4 ,this return became possible through the use of the incised line1 by the help of which interior drawing could be added on a black ground1 and the effect of the figures was further enhanced by the addition of details in red4 ,this is an important innovation in the history of ,greek vase-painting4 ,the general effect of the vase is completely altered by the decorative play of colour1 which extends also to the ornamentation1 and takes on that gay many-coloured aspect which is so characteristic of the older archaic period1 and which is only dropped late in the #fth century4 ,the new colour system does not aim at realism2 it makes prominent for decorative purposes single parts of the animal body1 especially the neck and belly4 ,the drawing of the human figure proceeds on other lines than that of animals4 ,in consequence of the new development of the art of painting 7p4 #cc71 it makes a fresh start4 ,first we have the vase of ,aristonothos 7,fig4 #cj72 the next stage is represented by the ,ram vase 7,fig4 #bh72 the desire of distinguishing the lighter skin of women from that of men leads to the tinting in brown of the male body4 ,but in the formation of the figure types certainly it was not only painting that stood godmother1 the metal worker's art must also have asserted its influence2 the kinship with ,cretan and ,argive flat bronze reliefs and metal engraved work is too great1 the sharp clear-cut types too much in the spirit of bronze technique1 for it to be possible to postulate an independent development4 ,to this corresponds the fact that the outlines of the figures are accompanied by incised lines on polychrome vases with black ground1 on the finest of the later lekythoi 7oil-flasks7 and on the ,chigi jug 7,fig4 #ce74 ,this technique is repeated on the big two-handled cups with finely stylised figured representations1 which finally accomplish an important advance already foreshadowed by small and hasty specimens3 the dark silhouette with incised interior detail1 prevalent in the style of the animal friezes1 and along with it certain details like the circular rendering of the eye1 are taken over for the representation of male figures4 ,this adoption1 which only takes place at the end of the development1 and makes the ,protocorinthian style the ,illustration3 ,,plate ,,xviii4 ,figs4 #cf #cg4 ,,scenes ,,from ,,the ,,chigi ,,jug3 ,,hare ,,and ,,lion ,,hunt2 ,,chariot4 starting point of black-figured vase painting1 does not unite heterogeneous elements4 ,for man and decorative animal are equivalent in their juxtaposition1 and beside the free mythological scenes there is a series of representations1 which seems to have grown straight out of the animal frieze4 ,the ,centaur1 the old ,greek forest monster1 joins the animals2 winged demons in the remarkable scheme of running with bent knee 7pointing to the metope treatment7 are also placed amongst them2 kneeling archers shoot arrows at them1 hunters and combatants pursue them1 ,bellerophon rides on ,pegasus against the ,chimaera1 ,herakles fights against the ,centaurs4 ,purely human scenes1 like the favourite ,duel 7,fig4 #dc71 are simply flanked by animals4 ,the addition of figures in rows and overlapping makes this simple combat into a battle2 wounded fall1 corpses are hotly fought over1 auxiliaries hurry up4 ,the artist always in these cases gives prominence to the finely decorated shields1 the pride of ,argive metal industry4 ,like the rows of fighting men1 the other frieze-like compositions1 the processions of riders and chariot-races1 the hunting scenes and chase of the hare1 thanks to charming observation of detail1 make a direct appeal which is strange for such early art4 ,the bushes in the hare-hunt of the ,chigi jug 7,fig4 #cf7 show the awakening of the landscape element1 which to be sure is always a rarity on vases and must have played a larger part in free painting4 ,moreover1 the varying colouring of the animals on the stripe in question1 which appears also on a frieze of riders 7,fig4 #ca7 and continues in ,corinthian painting1 must come from the same source1 whereas the bold front view of the ,sphinx head 7,fig4 #cg7 like that of the panther head and the ,corinthian quadriga1 was attempted for the first time in an ornamental band4 ,hand in hand with the enlivening of the friezes goes the suppression of field ornamentation3 it is only sparingly applied1 limited to the animal friezes or entirely absent4 ,at times a lizard 7,fig4 #cd71 a swan or a monkey comes into the figured scenes4 ,of course this is all devoid of meaning2 for in spite of all progress and freer treatment the style is merely concerned with the decoration of a surface2 #8exigencies of space' are its supreme law4 ,these control the type of the human figure1 for even where it is not essentially an ornamental scheme1 like the runner with bent knee1 it fills from top to bottom the stripe assigned to it1 extends its breast frontally1 and reaches out its arms1 as if it were yearning for a frame4 ,and as the body avoids all perspective1 so the head in profile shows its most expressive part1 the eye surmounted by the brow1 in full extent1 and renders the long hair falling down over the neck as smooth surface1 and the curly forehead hair as spiral4 ,there is no rendering of folds to show depth in the drapery1 which now the artist in true ,greek fashion treats in an abstract way1 unlike reality4 ,the human figure remains a type1 a homogeneous constituent part of the stripes1 which are entirely designed for filling space4 ,it matters little1 if between chariot-race and lion-hunt on the ,chigi jug 7,fig4 #cg7 a double ,sphinx is inserted as central motive1 or ,bellerophon lays the ,chimaera low in presence of two ,sphinxes 7,fig4 #cd72 if close to the lion-hunt in the same stripe1 ,hermes leads the three goddesses before the fair ,trojan shepherd1 and if the names of the personages are entered in the field with big letters as a kind of ornamentation by way of filling3 the incipient delight in telling a story is taken at once into the service of filling the field4 ,as the human figure still appears almost completely on a par with the ornamental animal figure1 so there is little trace of any superior weight being attached to the scenic representations in the decorative system4 ,where the ,illustration3 ,,plate ,,xix4 ,fig4 #ch4 ,,protocorinthian ,,or ,,corinthian ,,jug4 ,fig4 #ci4 ,fig4 #dj4 ,,corinthian ,,alabastron ,,and ,,aryballos4 painter employs them1 it is true he puts at their disposal the chief frieze and often one at the base in addition1 but he frames them with prominent stripes of ornament or animals1 and side by side with the narrative vases purely decorative ones are still produced4 ,the presence of several animal friezes on a single vase 7e4g4 on jugs of the shape of ,fig4 #ce7 is not uncommon2 like band ornamentation in general1 it is in contrast with the practice of the ,geometric period 7p4 #be7 and is probably to be traced to a strong influence of ,oriental textile art4 ,for the most severely shaped black vases1 which are nearest to the bronze models that we possess 7,fig4 #ch71 do not always adopt this fundamentally non-tectonic breaking up of the body of the vase4 ,the close connection of the shapes with metal-work has been already proved in the case of the cups of early ,orientalizing style 7,fig4 #bc71 and goes through the whole history of the fabric1 and even where the models were not immediately copied1 gave the vase-shapes a clearness and precision1 with which the products of no other manufactory can compete2 the ,sicyonian-,corinthian school of repouss work perhaps originated many metal vase-shapes1 which were afterwards used in various manufactories4 ,though the ,protocorinthian list of shapes is only known to a small extent1 an important change can be established4 ,beside the jugs of primitive construction 7cp4 ,fig4 #cc with ,fig4 #ed7 appear later more rounded vessels1 the jug with #8rotelle' 7,fig4 #ch7 and the wineskin-shaped1 the chief example of which 7,fig4 #ce7 with its excellently decorated bands1 sometimes black1 sometimes in the ground of the clay1 shows us the style in a richer and more developed form than any other vase of this fabric4 ,in the same way the little #8lekythoi' which are technically often quite exquisite1 change their appearance1 exchange their old globular shape 7,fig4 #bg7 for a slimmer one with pronounced shoulder1 which the caprice of the potter often furnishes with plastic additions1 ,argive transformations of ,cretan #8,daedalic' types 7,figs4 #bg and #ca74 ,and as beside the #8rotelle' jug1 we have the wineskin-shaped jug1 so beside this sort of #8lekythos' there is a wineskin-shaped variety with a rough tongue-pattern on the neck 7,fig4 #ci74 ,the #8lekythoi' were the chief exported article1 or at least the most favoured grave-offering of the customers abroad4 ,but one cannot call it the favourite shape of ,protocorinthian workmanship3 it must not be forgotten that we have only an accidental selection of this ware1 due to the discovery of two native sanctuaries 7the ,argive ,heraion and the ,temple of ,aphrodite in ,aegina71 and many graves in the ,argolid1 ,attica1 and ,boeotia1 in the ,east 7,thera1 ,rhodes1 ,asia ,minor7 and in the ,west 7,sicily1 ,italy1 ,carthage74 ,wherever this ware came it exercised a stimulating influence1 and in many places evoked local copies 7p4 #eb72 more than other districts the ,west was dominated by this ,art4 ,as the oldest ,etruscan wall-paintings1 those of the ,grotta ,campana at ,veii and the ,tomba dei ,leoni at ,caere1 are quite under the influence of ,sicyonian-,corinthian painting1 so the class called into existence a multitude of imitations in ,sicily and ,italy1 particularly at ,kyme4 ,the extraordinarily wide currency of the ware denotes not merely its superiority1 but also that of the trade-centre which exported it4 ,this need not necessarily have been identical with the place of manufacture4 ,many signs1 especially the occurrence of the vases in quantity in the ,corinthian colony of ,syracuse1 point to the fact that the great trading city of ,corinth took over the sale of the ware and gradually replaced it by its own products4 ,the vases localized with certainty in ,corinth by their alphabet give an immediate continuation of the ,protocorinthian1 and one ,illustration3 ,,plate ,,xx4 ,fig4 #da4 ,,animal ,,frieze ,,from ,,an ,,early ,,corinthian ,,jug4 ,fig4 #db4 ,,animal ,,frieze ,,from ,a ,,corinthian ,,jug4 can only ask whether this manufacture simply transferred its chief workshops to ,corinth or whether ,corinth in the closest imitation of late ,protocorinthian ware developed a new style1 which thanks to the commercial capacity of the ,corinthians could drive the older competitor out of the field3 its sphere of influence1 as we saw1 replaces the ,protocorinthian1 nay1 encroaches still further on the ,ionian region 7,samos1 ,naukratis1 ,pontus74 ,the ,corinthian style did not long retain the metallic clearness and precision of its predecessor1 neither in its shapes1 which for the most part it takes over 7,figs4 #ce1 #ch1 #ci1 #dc71 nor in its decoration1 which exhibits the final triumph of the ornamental style4 ,the dark ground technique becomes rarer2 the scaly fields continue for a time1 white rosettes painted on the black neck and edge are in favour to the end2 the indispensable tongue ornament on the shoulder gradually comes to be rendered by the brush4 ,the animal-frieze vases1 which are quite in the forefront of the interest1 link on to the later ,protocorinthian in decoration and in the style of the figures1 but soon alter the types in the sense of a broader rendering of form1 and the rosettes in the field also show this change4 ,on the common ware1 which was turned out along with the good1 one gets as a result coarse animals and filling patterns like mere blots2 but even technically perfect vases show a strong inclination to overfill the field1 which one might bring into causal connexion with the ,corinthian textile art famed in antiquity1 if the vase picture repudiated the brush technique more than it does4 ,the composition shows the same intrusion of a strongly decorative element4 ,the heraldic scheme is more prominent than ever4 ,we owe to it the invention of a new ornament1 a combination of lotus-flower and palmettes 7,fig4 #ci71 which like the old volute-tree 7,fig4 #cd7 is flanked by two animals4 ,in particular the wineskin-shaped and globular unguent-pots 7,figs4 #ci and #dj7 7,alabastron and ,aryballos71 the successors of the ,protocorinthian unguent-pots1 are decorated with it2 but even in the stripes1 which have not got the #8palmette and lotus cross1' there are groups of three animals at a time inspired by the heraldic scheme 7,fig4 #da74 ,the list of types grows3 beside the quadrupeds appear many birds 7e4g4 geese1 swans1 eagles1 cocks and owls17 fishes and serpents2 a motley series of hybrids1 bearded sphinxes1 winged lions1 winged panthers1 tritons and other fabulous creatures are side by side with the favourite winged demons1 sphinxes1 sirens and griffins4 ,the place of the central ornament is often taken by purely human beings1 especially the runner with bent knee1 and the goddess of beasts 7 7 which in the ,oriental patterns are flanked by animals2 but also non-ornamental figures1 women1 riders1 grotesque dancers 7,figs4 #dj and #dc7 are found in this place4 ,thus arises a co-ordination of man and decorative animal similar to that of ,protocorinthian art2 anyone who has followed on the vases this process1 which is characteristic of the #gth century1 is not surprised1 when in the archaic ,corinthian pediment at ,corfu mythological scenes appear side by side with the ,gorgon flanked by panthers1 and when in the representation of the central animal the myth begins to be active4 ,the non-ornamental human figures in the animal compositions are of course not invented for this purpose1 but borrowed from other contexts1 scenes of human life1 which existed beside the decorative representations and followed the lead of the ,protocorinthian precursors4 ,they are certainly more intimately connected with the animal figures4 ,the male figure 7p4 #ch7 has finally discarded the old outline drawing with brown filling for the animal-frieze technique1 black silhouette with incised interior details4 ,illustration3 ,,plate ,,xxi4 ,fig4 #dc4 ,,corinthian ,,skyphos4 ,fig4 #dd4 ,,achilles ,,and ,,troilos3 ,,from ,,the ,,late ,,corinthian ,,flask ,,by ,,timonidas4 ,but at the same time the memory of monochromy is not yet quite extinct2 the head silhouette is still by preference painted red4 ,when often instead of it the breast and thigh are picked out in red1 when in sphinx and siren contour drawing is abandoned1 the connection with the animal-frieze style is complete1 and the new intrusion of a strong decorative element in this pottery is obvious4 ,even the compositions of the figured scenes are under this decorative spell1 which1 as in the ,protocorinthian style1 is only broken through by a few gifted masters4 ,the duel flanked by sirens on the ,boston cup 7,fig4 #dc7 is typical of the older ,corinthian style4 ,the warriors and riders are often arranged in processions1 collected in big battle-scenes2 the grotesque revellers and dancers with extended posterior1 prototypes of the satyrs1 fill whole friezes with their reckless antics2 the girls take hands for the dance4 ,special legendary scenes are1 however1 very rare1 and when vase-painters like ,chares supply names to an ordinary series of riders1 this makes clear rather than removes the defect4 ,this defect to be sure is due to a great extent to the accidental preservation of a series of vases1 which are for the most part careless decorative work intended for the export trade1 so that we may form erroneous ideas4 ,the neighbourhood of ,corinth itself has supplied some fine specimens with a marked character of their own1 which bridge the gap between the ,chigi vase and later ,corinthian vase-painting 7,figs4 #fd-fg71 e4g4 kylikes where1 in the interior field framed by tongue pattern ornament1 are fine ,gorgon masks and human busts1 and especially two works signed by the painter ,timonidas4 ,the flask with the story of ,troilos 7,fig4 #dd7 shares with the ,chigi vase the contrast of colour important for ,corinthian painting4 ,the flesh of the women is light as a set-off to that of the men1 the chiton of the man sets off his nude parts1 the shield its bearer1 the front horse the hinder of the pair4 ,the delight in the landscape element1 the fine steeds1 and big inscriptions1 points back to ,protocorinthian style4 ,but nothing is left of the ornaments scattered about the field but a small palmette1 the composition has become looser1 there is much less tendency to cover the surface in the drawing of the figures3 the old scheme of the kneeling runner has its echo in the ,achilles lurking in ambush1 but it is ingeniously adapted to new use4 ,thus there is a much freer relation to space1 which gives the necessary foundation for the descriptive style4 ,the hunter too1 whose outline ,timonidas has put on a clay votive tablet unconstrained by the silhouette technique or by the desire for contrast of colour 7,fig4 #de71 is not crowded by any filling ornaments2 the finely drawn youth in the balance of his proportions and the rendering of detail surpasses the wrestler of the ,praisos plate 7,fig4 #bi71 and in his broad massive appearance introduces a new rendering of the body4 ,and similarly the dog1 coloured bright yellow with appropriate detail1 goes far beyond the animal frieze style4 ,one fancies that in this animal eagerly looking up to his master one sees expressed something like feeling4 ,like the pinax of ,timonidas many other votive tablets of the same find take one out of the stock vase scenes1 especially in the delight in landscape1 the trees conceived of in their special natures1 the cross-section like genre scenes from the workshop of the potter and metal-worker1 from mining and sea voyages4 ,the vases1 however1 show little of those progresses in colouring and spacing1 which we must assume in greater measure for the great art of painting4 ,the decisive step in the history of vase painting1 which is especially embodied for us by the painter ,timonidas1 consists in the liberation of the field1 in the transition from the ornamental to the pictorial style1 in the abandonment of filling ornamentation1 which only survives in vegetable ,illustration3 ,,plate ,,xxii4 ,fig4 #de4 ,,hunter ,,and ,,hound4 ,,pinax ,,from ,,corinth1 ,,signed ,,by ,,timonidas4 ,fig4 #df4 ,,frieze ,,of ,,an ,,early ,,phaleron ,,jug4 motives suitable to the occasion and scattered birds1 serpents1 lizards 7,figs4 #cd and #ff71 and in the triumph of figure-subjects over friezes of ornament or animals1 which can best be followed in the kraters 7,fig4 #fe74 ,with this step1 which is completed in the beginning of the #fth century1 we are brought close to the black-figured style proper1 which is differentiated by some technical innovations4 ,but before we pass to that1 we have still to follow the transition here described through the other fabrics of the #gth century4 ,we can rapidly pass over ,sparta1 which as yet produces no ware fit for exportation4 ,the course here is similar to what went on in the ,argolid4 ,beside many specialities one seems to notice kinship with ,ionian pottery in the small bands of squares accompanied by dots and the branches on the edge of the kylix1 in the placing of similar animals in rows4 ,in what close relation earlier ,spartan civilization stood to ,ionia1 we learn from the history of lyric poetry4 ,to the three stages1 earlier ,protocorinthian1 later ,protocorinthian1 older ,corinthian1 answer the three groups in ,attica named respectively after ,phaleron1 the ,nessos vase and ,vurv4 ,the break-up of the most definite of all ,geometric styles seems to have taken place in spite of vehement opposition4 ,details of the ,oriental flora and fauna are first assimilated to the old style1 and taken unobtrusively into the ,geometric system of decoration4 ,in the group named after the finds at ,phaleron the new style with marked ,phoenician imitations gets the upper hand4 ,to the unsystematic reproduction and application of the new ornaments1 now arbitrarily scattered1 now ranged in special rows1 and so added to the others1 succeeds a severer choice1 stylization and arrangement2 the luxuriant vegetable character of the decoration 7,fig4 #df71 with which birds and insects are often combined1 only lasts for a time4 ,the same experimental hesitation prevails in the figure drawing1 which does not go straight from the ,geometric silhouette to contour drawing and monochromy1 but very soon experiments from time to time in the incised line and added white paint1 and in the later ,phaleron stage is not sparing of details in red1 e4g41 for the hair and dress4 ,the progress in the rendering of nature happily can still be followed to some extent in big vases4 ,it leads to a fixed type with a loose outline with ankles1 knee-pan1 and elbow rendered like ornaments3 in the head the big eye in front view dominates at the expense of the forehead1 the skull is flat1 the aquiline nose is very prominent1 the ear is like a volute4 ,similarly in early ,greek sculpture an ornamental conception of the outline and the details of the body is expressed1 and casts a light on the conception of ornament as something living and not yet felt to be an abstraction from reality4 ,the big ,phaleron vases also give evidence as to the grouping of the figures1 which we have not been able to get from the ,protocorinthian vases that have been preserved4 ,older specimens like the ,berlin amphora from ,hymettos already fill the greater part of the vase surface with the descriptive frieze1 only surrounded by narrow lines of ornaments and animals1 and in addition the neck of the amphora is adorned with figured scenes4 ,even in ,geometric times ,attic pottery had already given greater scope to the narrative style than other manufactures3 in the ,phaleron vases it creates an important system of decoration1 which is continued in the group of which the ,nessos vase is the chief representative1 and prevails to the exclusion of everything else in the #fth century4 ,when the later ,phaleron vases re-adopt the full silhouette in animal drawing and extend the technique of incised detail and additions in red to human outline figures1 which they often emphasize only to make them stand out from the ,illustration3 ,,plate ,,xxiii4 ,figs4 #dg #dh4 ,,herakles ,,and ,,the ,,centaur ,,nessos2 ,,the ,,gorgons3 ,,neck ,,and ,,body ,,designs ,,of ,,an ,,attic ,,amphora4 background1 they prepare a step1 which is completed in the ,nessos group1 i4e41 the taking over of the animal-frieze technique into figure-painting1 with which vase-painting parts company again from the great art and returns to decorative silhouette effect4 ,in ,attica1 too1 the circular rendering of the eye is taken over for the male figure1 the flesh-tone of the face is retained for decorative effect1 women are distinguished by the old outline-drawing1 decorative female creatures and monsters do not escape from the silhouette treatment 7,fig4 #dh74 ,on vases of this technique the ,orientalizing luxuriance developed out of ,geometric richness is entered by a new spirit of severity and discipline1 which one would be most inclined to explain by strong influence of ,protocorinthian art4 ,the field ornaments are similarly limited1 and the rosette with points has the chief place2 the lotus and palmette pattern of the ,nessos vase 7,fig4 #dh71 the cable and the double rays of the ,piraeus amphora 7,fig4 #di7 are simple borrowings1 the lion-type on the vase just named is closely connected with the ,protocorinthian4 ,one may ask whether the types in spite of their ,attic stamp do not partly come from the ,sicyonian-,corinthian school4 ,the procession of chariots in the ,piraeus amphora is only in the line of old tradition1 but on the neck of the ,nessos vase the ,phaleron type is replaced by another1 which is certainly only an extract from a larger composition1 and the same artist makes the sisters of ,medusa furiously pursue a ,perseus not represented at all1 whom the ,aegina bowl of kindred style and the rather later cauldron in the ,louvre show along with his protectors ,athena and ,hermes4 ,at any rate the vase-painters had no hesitation in taking over the compositions once created and cutting them up1 enlarging or abbreviating them according to their requirements1 intensifying or weakening them according to their talents4 ,the same lucky #8laziness of invention' is shown in the rendering of the individual figure4 ,old types of ,oriental art are behind the battle motive of ,herakles1 the flight of the ,gorgons1 and the race of the ,harpies on the ,aegina bowl2 the unusual front view points to the origin of the ,gorgon type as an ornament4 ,but the ,greek showed originality in animating and enhancing these types4 ,in spite of the harsh perspective it is arrestingly expressive when the ,medusa collapses in death1 the sisters rush with the speed of lightning through the air1 ,herakles kicks the back of the rough monster1 and the victim supplicates his tormentor by touching his beard3 we have an art with the joy of youth full of vigour and possibilities of development displaying itself1 the same early ,attic art1 which next found plastic expression in the early sculptures of the ,acropolis4 ,on the ,nessos amphora the decorative figures are of secondary importance4 ,the mouth bears the old goose frieze1 the broad handles are adorned with owls and swans3 under the principal field a row of dolphins gambol1 but they are hardly to be conceived of as a meaningless animal frieze1 but are to be understood in a #8landscape' sense2 the wild chase is by sea4 ,on the other vases of this group the animal frieze element is much stronger1 on some it entirely prevails1 e4g41 on big-bellied amphorae with no angle dividing body from neck1 and a bason from ,vurv1 which both reduce the filling ornaments very considerably4 ,these vases lead over to a noticeably miscellaneous class1 the so-called ,vurv style1 which just like the older ,corinthian denotes a strengthening of the decorative and is also to be regarded as a rival of ,corinth4 ,the ornamentation is very limited1 for filling there is nothing but rosettes1 which may also form independent friezes3 the decoration assumes quite similar forms to those of the ,corinthian fabric4 ,but the ,corinthian elements do not entirely give its character to the ,vurv style4 ,apart ,illustration3 ,,plate ,,xxiv4 ,fig4 #di4 ,,attic ,,amphora4 ,fig4 #ej4 ,,cycladic 7,,euboic7 ,,amphora4 from the traditions of the brilliant ,geometric period1 which remained longer operative in the very ceramic and non-metallic ,attic school than in the ,argive-,corinthian1 one suspects also influences from ,eastern ,greece4 ,according to the evidence of vase finds1 ,athens was then in connection with ,naukratis4 ,thus one may refer the painting of white on the figures1 which is only occasionally employed at ,corinth1 but on the ,vurv vases often takes the place of the red1 to the influence of the ,east1 which had long known it1 and explain in the same way many a similarity with the ,east in the motley array of animals4 ,beside the common ware1 purely decorative1 technically trivial and poor1 naturally the subject-vases went on1 as at ,corinth4 ,it is not only the #8runners with bent knee' mingled with the animals1 the draped men and riders1 who maintain the connection with the older figure-painting2 the traditions of the ,nessos vase and its parallels continued on big and carefully executed vases4 ,these vases are to ,attic pottery1 what the works of ,timonidas were to ,corinthian2 they give up filling ornament1 individualize the world of figures out of its ornamental constraint1 give the subject-style the spatial freedom1 which it needs for its evolution4 ,just as we could follow this transitional style in ,corinth on a vase and pinax of ,timonidas1 so it meets us in ,attica at the same time in vases with decoration in bands1 necked amphorae1 kraters1 and cauldrons1 and in big-bellied amphorae with special field for the subject1 which take the place1 in some measure1 of sepulchral votive #8pinakes1' and are decorated with a female bust or a horse's head1 placed on a panel reserved in the black ground4 ,this vase with special field1 which arose from the needs of representation1 only transitorily enters the service of animal decoration1 and then becomes the chief vehicle of the new style1 whose beginning we have reached with the last-named vases4 ,attic pottery of the #gth century exercised great influence upon its ,boeotian and ,eretrian neighbours1 where an independent artistic spirit never existed4 ,one might describe these dependent manufactories as provincial branches of the ,attic1 had they not been influenced by other models as well4 ,the big ,boeotian amphorae with tall broad neck1 the decoration of which consists chiefly of a pictorial frieze at the level of the handles1 divided vertically1 are imitated from vases of the islands 7p4 #be74 ,the best known instance1 from ,thebes1 shows on one side the ,oriental goddess flanked by lions1 on the other a flying bird and spiral ornamentation4 ,this metope decoration with flying birds and ,orientalizing volutes and palmettes called forth a special ,boeotian class1 which some conservative workshops went on producing with great tenacity to the end of the #fth century4 ,it excels in tall-stemmed kylikes with white slip and colour accessories in red and yellow4 ,other workshops1 like those of ,pyros and ,mnasalkes1 imitated the ,protocorinthian and ,corinthian wares1 quantities of which were imported2 in the #fth century one enters an ,attic sphere of influence4 ,similarly ,attic and island influences are found side by side at the neighbouring ,eretria in ,euboea4 ,the ,cycladic manufactory1 to which the ,boeotian and ,eretrian imitations point1 cannot yet be followed beyond the early ,orientalizing stage4 ,on the amphorae with white slip already described1 to which class belongs the ,stockholm vase with the roebuck 7,fig4 #ej71 and on the closely allied griffin jug from ,aegina 7,fig4 #ea71 severely stylized flowers and tendrils enter the not very rich ,geometric ornament1 the new cable meets the old meander in the same frieze1 rows of triangles are enclosed by spirals2 in the metopes of the shoulder stripe appear1 surrounded by scanty filling ornaments1 simple animal representations1 ,illustration3 ,,plate ,,xxv4 ,fig4 #ea4 ,,cycladic ,,jug ,,with ,,griffin',s ,,head ,,from ,,gina4 generally birds1 also feeding animals1 heraldic or fighting lions1 pairs of panthers in heraldic scheme1 in the characteristic partial silhouette1 which renders the head and parts of the body in outline1 but the skins with black or white spots according to the technique4 ,the ,ram jug from ,aegina 7,fig4 #bh71 the exact attribution of which is uncertain1 is at any rate closely allied4 ,this charming class has been called ,euboic1 but no ,euboic find substantiates the name4 ,it has hitherto come to light only on the islands of the ,aegean1 especially ,delos-,rheneia1 ,thera and ,melos4 ,delos also supplied the earlier ,geometric stages1 but as the central meeting place of the islanders1 it received so many different elements that it appears venturesome to rename the #8,euboic' #8,delian' ware1 since a closely-allied pottery1 which would have the same right to this name1 can be probably distinguished from it4 ,this class1 which has a predilection for decoratively applied horse-heads1 and like the ,protocorinthian1 has the habit of putting red and white stripes on parts of the vase which are covered with black1 at an early date supplied figured representations without field ornaments2 it seems to have been occasionally imitated in the ,euboic colony of ,kyme1 which otherwise is completely under ,protocorinthian influence4 ,the similarity of the animal representations to ,cretan metal work and of the fine griffin head 7,fig4 #ea7 to those of bronze cauldrons from ,olympia1 strengthens the above-mentioned relations of the ,euboic-,delian style to the ,cretan and ,argive4 ,thera is not in question as the home of these vases4 ,this island had its own very important fabrication in ,geometric times1 which like the ,attic sticks obstinately for a long time to the old style1 and as long as it exists1 never allows the new elements1 which often are strongly suggestive of metal patterns1 to get the upper hand4 ,in ,melos it has been perhaps correct to localize an important manufactory of which the products have been chiefly found in this island and in the neutral sphere of ,delos-,rheneia4 ,the heavy double spirals with gusset-like filling1 which this style prefers to the other ,orientalizing ornaments1 and which it puts in to fill space1 arranges in stripes1 puts one on the top of another as #8the volute-tree1' or quadruples as #8the volute-cross1' give this pottery a peculiar stamp4 ,the style is most finely represented by the big weighty amphorae which in shape and technique of the light ground for painting on are akin to the above-mentioned ,cycladic vases1 but are finely decorated on neck and body with representations1 and also show the same feeling for rich decoration in the luxuriant filling ornamentation4 ,the ,melian delight in representation1 like the ,attic1 gives us an insight into the growth of the figured style4 ,the rows of geese 7,fig4 #eb71 the big sphinxes and panthers1 the horses ranged heraldically on either side of a volute-cross1 the favourite framed horse-busts show the well-known partial silhouette2 and the female busts1 the confronted riders1 the duellists flanked by women1 the gods facing each other or driving in chariots1 the #8,persian ,artemis' carrying a lion1 the free legendary scenes reflect in technique and drawing the same development which we followed at ,athens4 ,we can assign to about the date of later ,phaleron vases a specimen like the ,apollo vase 7,fig4 #eb71 which colours light brown the male body1 and in the drawing of animals leads from the old partial silhouette to the later technique4 ,the fine #8,marriage of ,herakles' 7,fig4 #ec7 marks a great step in advance1 not only by the complete taking over of the black-figured animal style1 and the superposition of many details in white on horses and patterns of garments1 but above all by the lively rendering of the paratactic composition and the removal of all ,geometric traces in the rendering of ,illustration3 ,,plate ,,xxvi4 ,fig4 #eb4 ,,artemis1 ,,apollo1 ,,arge ,,and ,,opis3 ,,from ,a 8,,melian0 ,,amphora4 ,illustration3 ,,plate ,,xxvii4 ,fig4 #ec4 ,,herakles ,,and ,,iole 7873 ,,from ,a 8,,melian0 ,,amphora4 ,fig4 #ed4 ,,early ,,rhodian ,,jug4 bodies4 ,the heraldic motives have given place to more natural ones2 the male type is not merely distinguished by brown painting from the female4 ,the shape of the vase is more compact1 the decoration more tectonic1 the goose frieze on the shoulder edge is replaced by the tongue pattern1 which also as garment edging drives out the old zig-zag4 ,but the filling ornaments are as copious as ever1 and the step1 which the ,nessos vase took in the technique of the figures1 has not yet been taken4 ,thus the #8,melian' vases take us lower down in the #gth century than the other ,cycladic products1 but not yet to its close4 ,perhaps new finds will bring the continuation of these manufactories and build a bridge to the style of the #fth century4 ,if we get them1 we may hope for a completion of the picture here given1 a clearing up of the relations of the manufactories to one another and to the ,east and ,west1 and evidence as to their localization4 ,for even the ,melian origin of the #8,melian' vases is not certain3 this manufactory too1 to judge by the chief locality of the finds1 would have to be moved to ,delos1 the little inconspicuous island1 where ,leto bore her twins ,apollo and ,artemis1 on which the whole ,ionic world gathered to celebrate its divine fellow-citizens4 ,we can trace something of this festal spirit and devotional pride of the insular ,ionians in the ,apollo and ,artemis of the ,melian vase1 of course in a humbler way than in the magnificent hymn of the ,ionian bard4 ,the technique of the white ground for painting and much in the filling ornament and the animal-drawing unites these insular vases with the artistic circle of ,s4 ,w4 ,asia ,minor and the adjacent islands1 through which obviously1 as well as through ,crete1 ,oriental decorative motives principally found their way into ,greece4 ,the impulses which guided the weak ,geometric style of this district into new paths can with certainty be traced to metal work1 especially ,phoenician bowls1 and to textile products4 ,miletus1 the head of ,east ,ionic civilization1 had a flourishing textile industry in the #gth century1 the decoration of which was quite under the spell of the ,east4 ,an attempt has been made to fix at ,miletus a manufactory1 the extension of which coincides exactly with the commercial sphere of this great maritime town2 the coast of ,asia ,minor and the adjacent islands1 the colonies on the ,black ,sea and in the ,delta are the most important1 a secondary part is played by the ,cyclades and the ,italo-,sicilian area1 but the ,greek mainland is unaffected4 ,but since ,miletus need not have done more than distribute1 just as ,corinth did for the ,protocorinthian ware1 since closely allied and almost inseparable wares were made in several places1 and the bulk of these vases were found in ,rhodes1 we may retain the traditional name #8,rhodian4' ,the transition from the ,geometric phase 7p4 #bf7 to the developed style of animal decoration can be to some extent followed4 ,we see1 for instance1 the old shape of the jug 7,fig4 #bb7 become metallically rounded1 the cable on the neck drive out the old zig-zags1 and on the shoulder two animals antithetically flank the central metope 7,fig4 #ed74 ,the stiff division into metopes of the shoulder stripe is next dropped1 the animals and fabulous beings of the ,east are placed heraldically one on either side of a central vegetable motive1 and under this heraldic band1 in obvious rivalry with textile work adorned in bands1 continuous friezes of animals in rows1 of dogs pursuing hares1 of grazing wild goats and deer1 of running goats1 which in spite of their decorative character often testify to a very fresh observation of nature4 ,bands of different ornament1 cables1 and continuous loops1 ,geometric motives in metope-like arrangement1 especially the upright garland of lotus buds and flowers1 are added to ,illustration3 ,,plate ,,xxviii4 ,fig4 #ee4 ,,rhodian ,,jug4 ,fig4 #ef4 ,,late ,,rhodian ,,jug4 ,fig4 #eg4 ,,euphorbos ,,plate ,,from ,,rhodes3 ,,menelaos ,,and ,,hector ,,fighting ,,over ,,the ,,body ,,of ,,euphorbos4 the animal friezes3 the last-named ornament generally takes the place of the rays round the bottom of the vase4 ,with these decorative stripes the ,rhodian style at the height of its production likes to cover the whole surface of its favourite jugs with #8rotelle' on the handles 7,figs4 #ee and #ef71 its necked amphorae1 bowls and other vessels1 and in this way arrives at a delicate and rich carpet-like effect3 the equipoise between the animal silhouettes neatly placed on the white ground1 coloured red and white1 and the vigorous clear ornamentation1 the showing of the ground through in delicate details where colour is purposely omitted1 the well-distributed filling ornaments1 into which sometimes small birds with an absence of pedantry are introduced1 are all very satisfactory to the decorative sense3 the distinction of the shoulder stripe by the heraldic element prevents the impression that the surface of the vase is too uniformly cut up4 ,the accumulation of animal friezes1 and the heraldic arrangement of ,orientalizing animals round a vegetable combination of ornaments1 are features which we have already found in ,western art2 but while these elements became prominent there at a time when the incised full silhouette was in exclusive possession of the field1 when plant decoration took more abstract shapes1 and filling patterns were reduced to the rosette1 the culmination of the ,rhodian animal-frieze vases falls in the pictorial period1 when the plant decoration is naturalistic and filling ornamentation is abundant4 ,a uniform band decoration did not exclusively prevail4 ,a group of jugs1 which by its more tense and profiled shape and by a transition to the later floral ornamentation shows itself to be progressive1 and which gradually replaces the cable of the neck by the broken so-called #8metope' maeander 7,fig4 #ef71 leaves out of the black body of the vase only a narrow stripe with the maeander reduced to pothooks1 and surrounds the bottom of the vase with long rays4 ,but beside this method the other certainly persists4 ,its tenacious life is proved by vases like the ,paris cauldron 7,fig4 #eh7 and its parallels from ,naukratis1 which show the archaic ,rhodian band style alongside of the developed incised animal style on the same vase4 ,in these hybrids which are essentially akin to the vases of ,andokides 7p4 #aae7 the old stylizing of the figures is giving way1 the rich store of filling motives is yielding to the prevalence of the rosette1 the vegetable ornamentation is exchanging its vigorous plant-like appearance for thinner and more abstract shapes1 which however take on a freer swing and submit to richer variations1 the most important of which is the continuous tendril4 ,at the same time the old technique of painting and leaving void spaces continues to be cultivated at a time1 when elsewhere and probably also in the ,east the black-figured animal style has become the regular thing1 and the filling ornamentation combined with it has assumed the blot-like shapes of the ,corinthian and ,vurv stage4 ,finally the ,rhodian style also adopts the new fashion4 ,thus this style from an early date shows itself extremely decorative and little inclined to actual representations4 ,we should know nothing of them1 if the plates1 a favourite item in ,rhodian fabrication1 like their ,phoenician metal prototypes1 did not exchange the old concentric decoration of stripes for the division into two segments1 the larger of which is occasionally adorned with the human figure instead of the usual animal or fabulous creature4 ,the drawing of the figures adopts the method already familiar4 ,the place of outline drawing of the men is taken by brown tinting1 e4g41 in the heroes fighting in the well-known scheme on the ,euphorbos plate 7,fig4 #eg71 while the women retain the old technique1 e4g4 the ,gorgon on a plate in ,london1 which is an adaptation of the ,oriental animal goddess1 and quite ,illustration3 ,,plate ,,xxix4 ,fig4 #eh4 ,,late ,,rhodian ,,cauldron 7,,lebes74 exceptionally fills the whole circular space 7,fig4 #ei74 ,both plates show early beginnings of incised work1 the ,gorgon in the inner marking of the drapery1 ,hector's shield in the drawing of the flying bird4 ,the view that the incised technique in figures is borrowed from ,protocorinthian work receives support in this shield with its ,argive suggestion1 and in the ,argive lettering1 with which the excellent artist1 roughly contemporaneous with the ,chigi jug 7,figs4 #ce and #cf71 has transformed a conventional composition into a scene described in the #agth ,book of the ,iliad4 ,the full silhouette with inner detail incised appears only in specimens1 which from their degenerate filling ornaments are plainly late products of the #gth century1 e4g4 a plate with a running ,perseus4 ,that when this happens the eye retains its oval shape1 is characteristic of the ,eastern ,ionic school4 ,this transition to the black-figured style can be better followed in a closely allied pottery1 fixed by the contemporary inscriptions of dedicators to the ,milesian colony of ,naukratis in the ,delta4 ,while the old filling motives are coming to an end1 and the vegetable stripe ornamentation is being increased by the addition of continuous tendrils and confronted lotus and palmette1 and rows of circumscribed palmettes1 of bands of buds and rows of pomegranates1 the animal frieze adopts the incised full silhouette4 ,the human representations1 often of a high order of excellence1 gradually asserting themselves beside the animal decoration1 show a reluctance in taking this step4 ,the old brush technique is still maintained in the specimens1 which reserve thin lines in the silhouette instead of incising them 7,fig4 #fj72 and also the brown tinting of the male body 7,fig4 #fa7 seems to continue in this area longer than elsewhere4 ,these conservative features are balanced by an innovation in colouring1 which like the change in plant ornamentation denotes an important step to the style of the #fth century2 even before the actual decay of filling ornamentation1 ,naukratite painting 7as in the ,praisos plate1 ,fig4 #bi7 begins to paint in white the light flesh of women1 e4g4 the face of the sphinx2 and the same colour is used in the ,herakles sherd 7,fig4 #fa71 on which the lion's skin still appears in the ground of the clay1 in order to contrast with the linen jerkin4 ,the delight in polychrome effect is very strongly expressed on the interiors of the tall drinking cups and other vases1 which the ,naukratite painter likes to cover with a wash of black1 and then to paint over it plant decoration in red and white4 ,incision enters also into their polychrome lotus decoration and thus gives it an effect similar to that of an older class of kylikes1 big-bellied and necked amphorae1 found in ,rhodes1 which is decorated in the old style with incised ornaments of red colour1 and at a time when the ,rhodian style was still practising pure brush technique1 was already preparing for the later phase1 a conclusion which must also be drawn from the ,paris cauldron for animal representation4 ,this black-ground polychromy1 which occurs only occasionally on ,rhodian jugs in white and red stripes1 white rosettes and eyes 7,fig4 #ee71 becomes so popular and elaborate at ,naukratis1 that one is almost tempted to think of a continuation of ,protocorinthian influence1 since ,naukratis was in close connection with ,protocorinthian ,aegina4 ,beside ,naukratis itself ,aegina was also the chief place of export for this gaily coloured pottery1 which unfortunately has only reached us in precious fragments1 and of whose scenes of merry life drawn from legend1 the revel and the dance we should gladly know more4 ,with the ,rhodian ware it also reaches ,italy and ,sicily2 the ,acropolis of ,athens gives us1 e4g4 the fine ,herakles sherd 7,fig4 #fa71 and ,boeotia in a grave of the early #fth century a late cup with heraldic cocks4 ,illustration3 ,,plate ,,xxx4 ,fig4 #ei4 ,,gorgon ,,plate ,,from ,,rhodes4 ,figs4 #fj #fa4 ,,busiris2 ,,herakles3 ,,naukratite ,,sherds ,,from ,,naukratis ,,and ,,athens4 ,beside the ,rhodian ware ,miletus seems also to have been the export-centre of another allied fabric1 that of the vases called #8,fikellura1' from the name of the site in ,rhodes1 where they were first found4 ,their home is now generally sought in ,samos because of the common ware found in that island4 ,the greater number of the vases preserved1 the prevalent form being the necked amphorae with metope-maeander 7,fig4 #ef71 are contemporaneous with the later phase of the ,rhodian4 ,this is proved by the advanced ornamentation with the thinner simplified lotus wreath1 the rows of circumscribed palmettes1 leaves 7,fig4 #fc71 pomegranates 7,fig4 #fb71 and crescents 7,fig4 #fc72 also by the almost complete disappearance of the #8horror vacui' so that the painter may reduce filling ornament to its lowest dimensions1 paint big surfaces with loose net and scale patterns1 and decorate the body of the vase with big continuous handle tendrils and an animal placed between them or only with a human figure boldly inserted in the void 7,fig4 #fb74 ,in the animals and fabulous beings1 which add to the ,rhodian types the heron and the water-hen or the fantastic man with the head of a hare1 the partial silhouette is now rare2 narrow lines left without colour1 as at ,naukratis1 take the place of incised lines1 and in the same technique are the purely human forms1 which with their receding foreheads1 projecting noses and almond-shaped eyes1 with their coarse postures1 are1 like the ,naukratis vases1 true offspring of the ,ionic spirit4 ,the ,altenburg amphora 7,fig4 #fc7 must be a late example4 ,the loin-cloths are painted red and framed with incised lines1 which this style so long resisted4 ,a few dot rosettes1 reduced to their lowest dimensions1 are all that is left of the old filling ornamentation1 a long-stemmed bud1 such as the early #fth century favours1 projects into the field4 ,just as the runner of the ,london vase in his vigorous but stiff posture gives quite a new meaning to an old ornamental scheme1 so the movements of the ,altenburg revellers1 which entirely fill the field1 convince us of their intoxication4 ,the ornamental style has now in the ,east1 as well as in the ,west1 become narrative and descriptive4 ,with these bibulous ,ionians1 who to the sound of flutes dance round their big mixing-bowl with cups and jugs1 we pass finally from the wide ramifications of #gth century vase history to the developed archaic style4 ,illustration3 ,,plate ,,xxxi4 ,figs4 #fb #fc4 ,,fikellura ,,amphor4 ,,chapter ,,iv4 ,,the ,,black-,,figured ,,style ,archaic art1 the wonderful offspring of the contact of ,greek civilization with the ,east1 exercises its charm to-day more than ever4 ,we have ceased to ascribe a unique saving grace to the classic period1 the period of full bloom1 and to allow no independent value to the preceding century except as an inevitable transitional phase4 ,we love these archaic works of sculpture and painting for their own sake1 not in spite of their crudities but just because of their unpolished hidden vigour1 because of the precious combination of their essential features4 ,the fetters of space1 and the strong tradition of an ornamental early period give them a monumental effect1 which has nothing of mummified stiffness but is kept ever fresh and youthful by an eminently progressive spirit and an energetic endeavour to attain freedom4 ,the archaic style #8with fresh boldness goes beyond its ,oriental patterns1 is ever making fresh experiments1 and thus exhibits constant change and progress4 ,it is always full of serious painstaking zeal1 it is always careful1 takes honest trouble1 is exactly methodical3 the language which it speaks always tells of inward cheerfulness and joy at the result of effort1 the effect produced by independent exertion4 ,there is something touching in the sight of archaic art with its child-like freshness1 its painstaking zeal1 its reverence for tradition1 and yet its bold progressiveness4 ,what a contrast to ,oriental and ,egyptian art1 which are fast bound in tradition3 in the one the sweltering air of dull coercion1 in the other the fresh atmosphere of freedom' 7,furtwngler74 ,the history leading up to the origin of this style has become clear to us by quarrying in different localities4 ,we saw the vases lose their peculiarly carpet-like appearance1 the filling motives disappear1 the bands of animals and ornaments forfeit their independence and become a subordinate member in the tectonic construction1 we saw the world of figures win its way out of ornamental compulsion to greater freedom and extend over the vase4 ,the #fth century1 to the beginnings of which we pursued the history of vases1 knows only occasionally inserted rosettes1 or a lonely bud projecting into the field4 ,plant ornamentation becomes true ,greek ornament1 abstract1 tectonic1 and when occasion demands1 full of life with its swing4 ,animal friezes retire to the foot or the shoulder1 are often incidentally treated as mere decorative accessories or seized by quite unheraldic liveliness4 ,the principal interest is devoted to depicting man1 his doings and goings on4 ,the vase painter is now more anxious than ever to narrate and depict2 he finds ever less satisfaction in ornamental composition4 ,he is never tired of describing hunting and warfare1 wrestling and chariot-racing1 the festal dance and procession1 but with greatest preference1 remembering the purpose of his vases1 drinking and wild dancing4 ,but also the heroes of past ages1 their bold exploits and strange adventures1 are his constant theme4 ,the ,homeric ,epic1 the tales of ,herakles the mighty1 the bold ,perseus and ,bellerophon1 had evoked pictorial representations even in the #gth century2 but now the full stream of the legendary treasury pours into painting and gives an infinitely rich material to the joy of narration4 ,what the vase-painter makes of this material is never conceived in the historical or archological spirit1 but breathes entirely the air of his own time2 often only the added names 7which according to the new feeling for space assume smaller dimensions7 raise a genre scene into one from myth4 ,moreover the ,saga is only seldom re-shaped by inventive brains4 ,types once invented pass on1 go from workshop to workshop1 from one district to another1 are abbreviated 7p4 #di71 expanded1 conventionally repeated or filled with new life4 ,types may also cross2 there arise purely through art1 contaminations of legend1 which are foreign to poetry4 ,when a ,corinthian painter unites the ,embassy to ,achilles 7,iliad ,,ix7 with the visit of ,thetis1 this has as little to do with poetry1 as when on ,attic vases the birth of ,athena is coupled with the apotheosis of ,herakles1 or the slaying of ,troilos is transferred to ,astyanax1 or the entombment of the dead ,sarpedon to ,memnon4 ,but everything strange need not be misunderstanding on the artist's part4 ,the vases supply us with a multitude of legendary motives and variations1 which we cannot find in literature1 and are the faithful reflex of the fluidity of ,greek mythology1 which1 devoid of canon and dogmatism1 was in constant flux4 ,olympos too1 is subject to these vicissitudes4 ,its gods live a human life among men1 the only difference being that some representative scenes give them a stiffer and more elaborate appearance than that of ordinary mortals4 ,in early times the divinity is chiefly betokened by inscriptions and attributes4 ,on the painting of the ,corinthian ,kleanthes stood ,poseidon with a fish in his hand beside ,zeus in labour4 ,late observers of this picture failed to understand this external characterization of the sea-god1 and saw an act of brotherly sympathy with the god's pains in this holding up of the tunny2 and thus a great deal beside must have appeared strange to them1 e4g4 ,apollo with the great lyre still bearded in the #gth century 7,fig4 #eb71 ,herakles without lion-skin 7,fig4 #fd71 the unarmed ,athena1 who only at the beginning of the #fth century1 in contrast with the ,chigi vase 7,fig4 #cg71 the ,aegina bowl and the ,gorgon lebes 7p4 #di71 begins to express her bellicose nature by attributes1 and much besides4 ,the favourite god of the drinking vessels is the wine-god with cup and vine4 ,he makes ,hephaistos drunk and leads him back to ,olympos to liberate ,hera from the magic chair4 ,the big-bellied dancers and purely human creatures1 who form his escort on ,corinthian vases1 in the first third of the century are superseded by the ,ionic horse-men1 the ,satyrs1 who become ever more closely associated with ,dionysos1 celebrate feasts with the ,maenads1 never despise the gifts of their master1 and make fair nymphs pay for it4 ,the half-bestial creature in whom ancient ,greek fancy vigorously incorporates man's pleasure in wine and women with all its comic effects1 is quite the patron of archaic vase-painting4 ,that all these representations were developed by vase-painting alone is more than improbable4 ,that the ,bacchic scenes of toping and dancing were created on the actual vase1 is most likely2 but one is often enough compelled to assume other sources4 ,the fight of ,herakles with the lion1 for instance1 in its oldest form is the borrowing of an ,oriental type1 which is composed for a tall rectangle1 and is expanded by the vase-painters for their purposes by filling figures1 #8spectators4' ,the gifted artist1 who gave this heraldic type the more natural impress which was regular in the older black-figured style1 was perhaps a vase-painter2 the creator of the later black-figured type was certainly not1 for his horizontal group is certainly a fine invention but always has to be adapted artificially to the vase surface4 ,as with the wrestling of ,herakles1 so it is with ,theseus' struggle with the ,minotaur4 ,the same sort of extension occurs on a favourite subject of older black-figured style1 the quadriga in front view1 whose horses heraldically turn their heads sideways1 whose helmeted warrior is in front view while the unhelmeted driver is in profile4 ,this type1 certainly invented for a square1 is also known in bronze and stone relief1 and the question1 in what technique it first appeared1 will scarcely be answered in favour of vase-painting4 ,for a square1 too1 the finely compact group of ,herakles wrestling with ,triton was first composed1 a theme common on ,attic vases from the hydria of ,timagoras onwards2 the older wrestling scheme1 superseded by this type1 in its ,herakles spread out before the eyes of the observer and kneeling as he wrestles1 still shows strong affinity with the ,orientalizing frieze compositions 7p4 #df71 and is for vase decoration much more typical than the later invention1 which on vases always has a #8borrowed' effect4 ,the dependence of vase-painting on other techniques is finally evidenced by the so-called #8couplings'3 the best-known instance is the combination of the departure of ,amphiaraos with the ,funeral-games of ,pelias on a ,corinthian 7,fig4 #ff71 an ,attic and an ,ionic vase1 a combination which is borrowed from an inlaid wooden chest of ,corinthian workmanship at ,olympia 7#8the chest of ,kypselos'7 or a prototype from which both were derived4 ,after all this one will not hesitate to look for a strong reflex of the great art of painting on the vases1 alongside of the special property of the vase-painter and typical ornamental figures equally common to all art1 or to picture to oneself wall-paintings or easel pictures1 like the birth of ,athena by ,kleanthes1 after the fashion of the best vase-paintings1 which are least constrained by ornamental considerations1 or to reconstruct from the copies of vase-painters compositions like the ,destruction of ,troy 7,iliupersis71 the ,return of ,hephaistos1 the ,reception of ,herakles into ,olympos4 ,one is particularly impelled this way1 when the vases give now shorter1 now longer1 extracts from the same large composition2 thus we have a reflection on some dozen vases of ,exekias and his successors of the fine representation of the heroes ,aias and ,achilles surprised by the ,trojans while deeply absorbed in a game of draughts1 and warned by ,athena just in time 7,fig4 #if74 ,one cannot conceive of any difference of principle in perspective1 in the rendering of the body and the drapery1 in the spiritual content1 between vase-painting and free painting2 they both are children of one time4 ,nor did the vase-painter feel any necessity to alter the composition of his patterns4 ,only as he had to decorate framed bands1 the law of isocephalism was more binding for him than for the great art4 ,hence his strong disinclination for 8landscape10 which we often meet with in ,corinthian and ,ionian pinakes and wall-painting1 but on the vases never1 or only in palpable caricature2 the painter who on a hydria from ,caere copied a seascape with the ,rape of ,europa1 was obliged to place beside the figure what looks like a mole-hill but is intended for a mountain4 ,this limitation of the possibilities of composition by decorative considerations was of hardly any importance4 ,the wide gulf between free painting and vase picture was conditioned in the first instance by technique4 ,it was that which gave its special effect to the black-figured style and set its stamp upon it4 ,we saw previously that vase-painting1 when it took over the silhouette style from the decorative animal frieze1 increased its distance from free painting1 under whose spell it had been for a good part of the #gth century1 that with the incised technique it took over1 e4g4 the circular drawing of the eye1 and with the new colouring entered decorative paths 7pp4 #ch1 #dd1 #di74 ,free painting drew with the brush on light ground1 used black and white very sparingly1 more frequently red1 blue1 green1 yellow and brown2 placed these colours side by side in simple harmonies1 with very little gradation and shading1 but also sometimes1 e4g4 to represent fire1 used the smooth brush2 rendered the men in reddish brown1 women1 children1 animals and objects in light colouring4 ,with this free-coloured effect the black-figured style was neither able nor anxious to compete4 ,just like the ,geometric1 it is in its own fashion again an ornamental style1 which does not disown its predominantly decorative character4 ,the figure silhouettes serve it as ornaments to fill a given space1 which are in a certain equipoise of colour in relation to the rest of the decoration and the black painted parts of the vase2 the incision stipulates a sharp delineation of types1 the imposed colour gives a parti-coloured effect4 ,the coloured effect of the vases is essentially defined by the clay1 which now1 in the developed black-figured style1 takes on a brilliant warm red upper surface1 and by the black glaze1 which assumes a metallic lustre4 ,the darker colouring of the clay deprives the lighter parts of their effects by contrast1 and compels the painters to replace the contour-drawing of women1 linen garments1 etc41 gradually by laying on white colour1 with which at first the contour is simply filled2 but afterwards more commonly black underpainting is overlaid4 ,with the transition to white1 clear silhouettes are also obtained1 which set off against the background more effectively than the old contour figures4 ,the advance in the preparation of the clay and glaze colour came about on the ,greek mainland4 ,tradition makes the ,sicyonian ,butades invent the red colouring of the clay at ,corinth1 and thus gives the correct indication4 ,the ,chalcidian and ,attic workshops helped the new technique to prevail2 in the ,east it gradually gets the upper hand and forces the ,ionian manufactories to give up their favourite white ground and adapt their technical freedom to the growing strictness of the western system4 ,attica1 which in the #fth century opens a dangerous rivalry in ,eastern and ,western markets and finally wins the day1 brings the process to perfection4 ,with the refinement of incised technique it puts an end to the parti-coloured method still much affected by ,corinthians and ,chalkidians1 it clears away the big surfaces coloured red and white and all colour in ornament and animal frieze1 and helps the harmony of clay and black to its purest and fullest effect4 ,with the disappearance of the old parti-coloured system the vases are completely removed from the effect of free painting4 ,for that we may be grateful to fortune4 ,for this refinement of the black-figured style permitted the sensitive feeling of ,greek artists for decoration to satisfy the delight of narrating and describing along with the ornamental traditions of the old style4 ,they had no need1 as had the old ,minoan vase-painters 7p4 #aj71 to shrink from borrowing figured scenes4 ,the recasting of types into the decorative silhouette style made it possible for them to conjure on to the vases whatever touched their hearts and delighted their eyes1 and thus to transmit to us an infinite variety of scenes1 without which our knowledge of ,greek legend1 ,greek life and ,greek art would have remained terribly scanty4 ,corinth must lead off the history of this new style4 ,the chief centre of commerce and industry in the ,peloponnese1 the celebrated seat of a flourishing ceramic industry and of an important school of painting1 it not only took the decisive step to the new technique1 but even in its red-clay phase had helped the designs to drive out animal decoration1 and composed1 or at least introduced into vase-painting1 numerous types1 which supply material to other workshops for a long time4 ,the quadriga in front view1 which ,chalcidian and ,attic painters repeated so often and which kept ,illustration3 ,,plate ,,xxxii4 ,fig4 #fd4 ,,herakles ,,and ,,eurytios2 ,,horsemen3 ,,from ,a ,,corinthian ,,krater4 ,fig4 #fe4 ,,corinthian ,,krater4 its decorative effect for almost a century1 appears here for the first time2 the triangular scheme of two wrestlers seizing each other by the arms and pressing head against head1 which survived to the time of ,nikosthenes1 was taken by the ,amphiaraos krater 7,fig4 #ff7 from the above-mentioned chest of ,kypselos 7p4 #fg72 the nuptial procession of ,peleus and ,thetis which we shall meet on the lebes of ,sophilos and the ,franois-vase is prepared for in ,corinthian vase-painting2 and the battle-scenes1 rider-friezes and chariot-races1 of which there was a beginning in the ,protocorinthian style1 were most richly developed by the ,corinthians1 and adopted by ,chalkis and ,athens often without any essential improvement4 ,thus one may be sure1 that a number of other types1 which are not represented in the selection that accident has given us1 started their victorious career from ,corinth1 and that the lost great art of ,corinth1 the bronze industry of which we have specimens and the richly-adorned chest of ,kypselos described by ,pausanias supplied to the vase-painters a number of mythological compositions1 which influenced other manufactories4 ,unfortunately the greater part of this rich treasure is lost to us4 ,the loss is the more to be lamented1 as what we have shows us a fine inventive talent on the part of the ,corinthian artists and a magnificently free and easy conception of life and legend4 ,the ,homeric poetry and the ,epic inspired by it1 the lays of ,peleus and ,herakles1 the ballad poetry now becoming very fashionable1 from which come e4g4 the birth of ,athena and probably also the ,return of ,hephaistos to ,olympos1 are reflected on these ,corinthian vases in inimitably vivid and drastic fashion2 and the vase-painter also gives scenes from daily life1 carouses1 drunken men who dance wildly with naked women1 kitchen and winepress1 riding and driving1 marching out to battle1 and the wild mellay itself4 ,it is particularly on the kraters 7,figs4 #fd-ff7 that we can trace how the accumulating material gets space on the vases2 animal decoration1 in which heraldic cocks are very popular1 retires ever more to the reverse1 under the handles1 into the base stripe1 and also by preference is replaced by lines of galloping riders1 who form a lively decorative foil to the mythological principal picture 7,fig4 #fd74 ,meanwhile filling ornament disappears4 ,the flying bird over the rider 7,fig4 #fe7 renders the same service as the rosette1 nay a better2 it transplants the scene out of a decorative space into an actual one1 the open country2 and the space-filling animals of the ,amphiaraos vase1 which are traditional 7p4 #dj71 are not intended merely any longer to enliven the vase surface but the wall of the house1 the floor and the air4 ,thus the liberation of the field1 for which ,timonidas and his fellows paved the way1 is attained4 ,with this goes hand in hand the liberation of figure-drawing from ornamental constraint4 ,the outspreading of the figure in the surface1 which is still strong in the #gth century1 is toned down or ingeniously given a motive1 as with the kneeling warrior who fights backwards1 and does not disguise his connection with the old runner with bent knee4 ,the individualizing of men and animals carried forward by ,timonidas now once more makes big advances in human figures1 horses and dogs4 ,we will select two of the kraters to give us an idea of the development of the style4 ,one1 a ,paris vase 7,fig4 #fd71 gives a special application to a fine banqueting scene1 by added names and the insertion of ,iole1 as the visit paid by ,herakles to ,eurytios1 king of ,oichalia4 ,the fair daughter of the house stands with some indifference between the guest and her brother2 it is supposed to represent a legend1 but is really little more than a genre scene1 as which it is hard to beat4 ,the lively conversation of the guests1 the dogs tied to the sofa-legs waiting and speculating on the chance of ,illustration3 ,,plate ,,xxxiii4 ,fig4 #ff4 ,,departure ,,of ,,amphiaraos3 ,,from ,a ,,corinthian ,,krater4 bits falling from the table are masterly1 and even the horses in the supporting frieze1 if out of proportion and inelegant1 are the more characteristic and living4 ,the technique follows old tradition2 the flesh of ,iole1 tables and sofas1 one dog1 shields on the reverse1 appear in outline drawing4 ,such contours1 also found sometimes where men's bodies left white set off those painted dark1 unite to some extent1 as does the red colouring of the male countenance1 the vase in its effect with the great art4 ,on the other hand the ,amphiaraos krater 7,fig4 #ff71 which gives up red for male faces1 and makes a point of covering the outline figures with a layer of white1 has become more decorative and black-figured4 ,its pictures are not equal in execution to the invention1 but come from excellent models 7p4 #fg74 ,between the colonnade and faade of the house1 which are in line like the tables in the ,eurytios vase1 the hero1 because of his oath1 mounts his chariot to go with open eyes to the death he forebodes2 his angry look is directed to ,eriphyle and the fatal necklace in her hand4 ,with raised hands the family takes leave1 a maid-servant gives the stirrup-cup to the charioteer4 ,foreboding evil1 the faithful ,halimedes sits on the ground3 his heart has evidently bidden him to train up the boy ,alkmaion to take vengeance on his mother4 ,the whole delight in narration1 which in the exaggerated rendering of the necklace strongly emphasizes the previous history1 is as genuinely archaic1 as the mythological individualizing of an old type #8,the warrior's departure4' ,the ,amphiaraos krater is more developed than the ,eurytios vase1 not merely in technique4 ,the painter of the later vase1 though not so gifted as his colleague1 draws more cleverly1 and works with a set of types before him1 as the frieze of riders shows4 ,the advance becomes plain in the shape of the vase4 ,the ,eurytios krater encloses an almost uniformly swelling cauldron between a lip ring which is very low and a foot which spreads out in ample dimensions4 ,from this round-bellied archaic shape we pass to a later more defined and elegant one in the ,amphiaraos krater1 which has a higher neck1 a steeper and much less swelling body1 with its lower part running to a point1 till finally the outline almost resembles an inverted triangle and from the handles a rectangular or curved bridge has to be built leading to the high rim 7krater colonnette74 ,the tendency to development1 which we can read out of the vase shapes1 may be taken as a symbol of the history of style4 ,for a ,greek vase was always something organic1 as much so as a tree or animal4 ,unfortunately1 besides the large kraters with their numerous figures1 which were favourite articles of export1 few vases are preserved4 ,in the scene on the ,eurytios krater we get the lebes with stand1 also the jug and drinking cup 7kylix71 which exist in various extant specimens4 ,the kylix has an offset lip 7as in ,fig4 #bd71 and often knobs on the handles1 the interior picture is framed by tongue pattern4 ,beside the necked amphorae1 which like the kraters seldom have any other ornament than rays1 shoulder tongues and neck rosettes1 the similarly decorated big-bellied amphorae continue1 which like their ,attic parallels 7p4 #ea7 put human busts or animal representations of old and new style into the figure panel4 ,the three-handled water pitcher 7hydria7 has the type with vaulted shoulder common in the older black-figured style1 and adorns it with spirals and maeanders4 ,all these ornaments1 to which may be added the double lotus and palmette of the ,eurytios krater and occasional net and step patterns1 partake of the solidity and variety of the style4 ,strangely enough1 the phase of the ,corinthian style here described is for us the end of the fabric2 not one of these ,illustration3 ,,plate ,,xxxiv4 ,fig4 #fg4 ,,corinthian ,,plate4 ,fig4 #fh4 ,,the ,,slaying ,,of ,,typhon ,,by ,,zeus3 ,,chalkidian ,,hydria4 ,illustration3 ,,plate ,,xxxv4 ,fig4 #fi4 ,,chalkidian ,,amphora4 vases can be dated below the first third of the #fth century4 ,corinthian pottery has no share in the ,eastern ,herakles with the lion-skin1 the ,amazons as ,scythian women1 the entry of the ,satyrs1 the rendering of folds1 the painted ground for white additions4 ,one asks whether this brilliant development could break off so abruptly1 or if it is only accident which has concealed from us its continuation4 ,both are improbable4 ,it looks rather as if1 just as the ,protocorinthian manufactory had its continuation in the ,corinthian1 so the ,corinthian was carried on by the ,chalkidian4 ,for the vases denoted by their inscriptions as ,chalkidian form1 at all events according to the present state of our knowledge1 a group covering a few decades1 which is in succession of time to the later ,corinthian vases1 and is most closely connected with them by a series of detailed agreements4 ,not only do the vase shapes consistently carry on ,corinthian tendencies1 but details of decoration like the white neck rosettes filled with red1 and the step pattern 7,figs4 #fh and #fi7 continue2 the ,corinthian animal friezes with rosettes1 the heraldic cocks1 with the serpents1 the winged demon1 the riders with the space-filling birds 7,fig4 #fi71 the wrestlers scheme1 the grotesque dancers1 the quadriga in front view are taken over2 nay1 details of drawing1 like the warrior's head in front view1 the round outline of the edge of the short small chiton 7,figs4 #gj and #ga71 the red spots on black clothes 7,fig4 #gj71 the sword sheath with the ,st4 ,andrew crosses 7,fig4 #ga71 the devices on the shields are not conceivable without their ,corinthian predecessors2 even the names of ,corinthian grotesque dancers pass over to the ,chalkidian ,satyrs4 ,not a single ,chalkidian vase has been found in ,chalkis itself1 nor even in any part of the mother-country3 all specimens preserved come from the ,west4 ,one might therefore assume that the fabric had its seat1 not in ,chalkis itself1 but in one of its colonies1 and thus the powerful ,corinthian traditions in this pottery would be easily explained4 ,the ,west was dominated1 as we saw1 throughout the #gth century by ,corinthian exportation2 and the colonies of ,chalkis had always been provided by friendly ,corinth with clay vases4 ,but the strong influence of the ,chalkidian manufactory on the ,attic is in favour of ,chalkis itself having put an end to ,corinthian production1 or at any rate to ,corinthian exportation4 ,why and how1 cannot be stated3 perhaps the publication of the many unpublished specimens will solve the riddle and clear up the close relation of the ,chalkidian ware to the group of the ,phineus kylix 7,fig4 #gd74 ,from every point of view the ,chalkidian vases give us a heightening of the ,corinthian1 a great advance in the direction of a later period4 ,clay and black now attain their highest perfection1 the distribution of colour is most delicately calculated2 no longer is there so much use made of white surfaces 7under which there is regularly a wash of black72 especially we see no more of the arbitrary colour-contrast which did not shrink from white colouring of the male4 ,if the ,corinthian style had already aimed at metallic effect in the angular formation of the handles and the curving of the handle-bridges of the krater1 the ,chalkidian heightens these tendencies almost to faithful copying of metal vases1 and consistently develops the vase shapes to the highest1 almost over-refined elegance2 the narrowing of the lower part of the body leads to the insertion of a roll1 which the painter picks out in red from the black foot4 ,thus arise novel vase-shapes2 the necked amphora 7,fig4 #fi7 is elongated1 its shoulder flattened1 so that the body almost assumes the shape of an egg2 the krater gets steep sides1 high neck1 and outward-bent handle bridges2 out of the older hydria with arched shoulder comes a later shape1 which1 in a specimen at ,munich 7,fig4 #fh7 exactly copies the addition of cast handles to a metal body2 and similarly the other shapes develop1 the kylix with knobs on the handles1 the two-handled cup1 the jug4 ,the same endeavour after elasticity and elegance prevails in the distribution of the ornament over the vase1 which was managed in a more masterly way at ,chalkis than elsewhere4 ,certainly the ornamentation is based almost entirely on ,corinthian foundations4 ,the white dot-rosettes filled with red on the black neck1 the lotus and palmette on the ground of the clay1 tongues on the shoulder1 and rays at the foot1 the step pattern under the chief frieze are of old tradition but pass through a growing elaboration4 ,as a new motive of decoration comes in the chain of buds1 which we know from the ,east3 as a rule it occurs beneath the chief band 7,fig4 #fi71 or hangs over the figure-field in place of the lotus and palmette4 ,the ,ionic pattern is not exactly imitated in the process2 the swellings under the ,chalkidian buds suggest roses rather than lotus4 ,out of these buds1 palmettes1 and the tendrils uniting them1 is formed the fixed ornament1 which generally serves as central motive to heraldic animals and often develops into a wonderfully rich complex of lively lines 7,fig4 #fi74 ,the proper place for this ornament is the centre of the upper band1 which recovers its importance1 now that the shoulder is set off more sharply in hydriae and necked amphorae1 and as secondary field for decoration is1 like the reverse of vases1 usually decorated in the first instance with animals4 ,on the shoulder-stripe the riders with the space-filling birds tend to drive out the archaic scheme of decoration2 they flank the lotus and palmette cross and in later specimens1 where the horizontal shoulder is no longer dominant in the general view1 they pass from heraldic constraint to parade order1 and are also occasionally replaced by cleverly disposed dancers4 ,the reverse of the vase also more and more shakes off animal decoration and replaces it by ornamental compositions1 as by the heraldic quadriga or the heraldic riders4 ,friezes of animals beneath the main scene 7,fig4 #fh7 become very rare4 ,however markedly the decoration of the vase departs from the old style1 yet in spite of that there is in contrast with the ,corinthian style a marked decorative invasion to be traced4 ,the vases that have nothing but animal decoration are numerous1 and the rosette often asserts itself again4 ,this decorative invasion1 which is connected with the perfection of technique and marked talent of the ,chalkidian artizan1 does not detract in any way from the figure scenes4 ,the latter preserve their old vigour and power of observation1 some masters even raise it to a most intense elasticity1 and breathe into the old types a new and vivid life1 which in union with the line technique and arrangement in space makes these vases superior to most of the other black-figured pottery4 ,how ,herakles on the ,london amphora 7,fig4 #gj7 unmercifully deals the death-blow to the three-bodied ,geryon1 or on the similar ,munich vase 7,fig4 #ga7 to ,kyknos1 is brought before our eyes with unambiguous matter-of-fact and verve4 ,the chest of ,kypselos had already thus represented ,herakles' fight with ,geryon1 and the ,chalkidian painter rests here1 as often and especially in his battle scenes1 on ,corinthian types4 ,but his rendering is anything but a borrowing1 and bears witness to fresh and vigorous conception4 ,the #8,herakles and ,kyknos' is based on the old fighting scheme1 which represents a warrior with raised right arm assailing an opponent who almost kneeling moves to the right but looks round2 and so in effect only combines the #8duellist' 7p4 #ci7 and the runner with bent knee4 ,on the ,chalkidian picture the old #8exigency of space' type is hardly any longer to be traced2 everything has become ,illustration3 ,,plate ,,xxxvi4 ,fig4 #gj4 ,,herakles ,,and ,,geryoneus3 ,,from ,a ,,chalkidian ,,amphora4 ,illustration3 ,fig4 #ga4 ,,the ,,slaying ,,of ,,kyknos ,,by ,,herakles3 ,,from ,a ,,chalkidian ,,amphora4 expressive and characteristic4 ,to be sure the contrast between the body in front view and the legs in profile and the spreading over the surface are still hardly toned down1 but the thrust dealt with the right arm1 the clutch of the left1 the foot pressed against the back of the opponent's knee are full of vigour1 and the collapse of the bleeding son of ,ares1 his prayer for mercy while he plucks the victor's beard1 the dimmed eye with its pathos1 the composition and the filling of the space are very artistic4 ,this heightening of characteristic touches does not merely appear in battle scenes1 but also the intimate touches in many ,corinthian subjects are carried on4 ,even the ,eurytios krater had succeeded in expressing the horror which seizes ,odysseus and ,diomede at the sight of the suicide of ,aias4 ,the feeling in this group is perhaps surpassed by an episode in a ,chalkidian battle-scene2 where the intent care1 with which ,sthenelos binds up the finger of the wounded ,diomede1 reminds one of the later kylix of ,sosias 7,fig4 #aad72 and when a ,paris amphora enlarges the march out to battle by a domestic scene of arming1 early red-figured painting is again anticipated4 ,the combination of this fresh and direct observation of nature with a marked decorative talent unites ,chalkidian with the ,ionic art of the islands4 ,on ,chalkidian soil1 where a language with a strong ,ionic element was spoken1 a close contact with eastern neighbours must be assumed4 ,it is not only the chain of buds on the vases that witnesses to this contact4 ,the ,satyr1 a hairy fat fellow1 with marked horse-ears and horse-tail1 often with horse-hoofs1 enters from the ,east in a form1 which meets us on the ,phineus vase 7,fig4 #gd74 ,and when the ,chalkidian painter occasionally indicates the outline of the female back1 where previously the drapery falling straight down entirely concealed it1 when he furnishes his ,geryon with wings and often equips ,herakles with the lion's skin1 in this1 as in much besides1 one cannot fail to see ,eastern influence4 ,whether the rendering of folds1 the beginnings of which appear on ,chalkidian vases as elsewhere1 has the same origin1 is doubtful4 ,the fabric in the ,ionic islands which was in close reciprocal relation with the ,chalkidian1 may be called the #8,phineus' fabric after its chief product1 till accident betrays to us its home4 ,from the remains of lettering on the ,phineus kylix1 it can only be said1 that it was produced in a place where ,ionic was spoken1 which cannot have been near to ,asia ,minor4 ,the style1 more ,eastern than ,chalkidian1 but different from ,east ,ionic in much1 e4g4 the circular drawing of the male eye1 and closely akin to ,chalkidian1 is probably of ,cycladic origin4 ,but a connection of this pottery with one of the old ,cycladic manufactories 7p4 #eb7 is impossible4 ,as little as the ,chalkidian has it any previous history2 the few amphorae and kylikes that remain belong exactly to the same short period of time1 in which the ,chalkidian vases were produced4 ,the amphorae are rather earlier than the ,phineus vase1 and often very like the decorative earlier ,chalkidian specimens4 ,chalkis seems to have supplied to them the western technique1 the vase-shape1 the foot-ring1 and also to have supplied the patterns in many specimens for animal and rider decoration4 ,but the less severe construction of the vases1 the irregular division of the fields for figures1 the preference for a dark covering of the ground above the rays1 the liberties in decoration1 lead us to more ,eastern soil4 ,the very chain of buds1 luxuriant and hardly stylized1 which often covers the neck1 shows the unpedantic and concrete ,ionic style1 and the same playful carelessness appears1 when the painter is lavish with filling rosettes and buds1 when he inserts into a heraldic frieze of animals a complex of creatures furiously biting each other1 or puts ,illustration3 ,,plate ,,xxxvii4 ,fig4 #gb4 ,,ionic ,,eye ,,kylix4 ,fig4 #gc4 ,,head ,,of ,,athena1 ,,between ,,the ,,eyes ,,of ,,an ,,ionic ,,kylix4 between his favourite squatting sphinxes a fighting warrior1 a couple of dancers1 or two running girls1 when he composes heraldically the heads of two processions of riders1 and makes a combatant the central motive of heraldic riders1 when he invents animal combinations with a common head4 ,so it is no wonder if he makes into an effective motive of decoration the apotropaic eyes popular in this phase of art1 which we know from ,delian1 ,melian1 and ,rhodian vases of the #gth century 7,fig4 #eg71 if he often adds ears and nose1 and fills the centre with an arbitrarily chosen motive1 a leaf or a human figure4 ,the eyes are found on the necks of amphorae1 but very often as outside decoration of the kylix1 which in perfected specimens shows alike the height and the end of this manufacture4 ,the wonderfully living and swelling outline of these delicate kylikes 7,fig4 #gb7 may be taken as a symbol of the style of the figures1 which is absolutely remote from abstract dryness4 ,it often enough adopts ,corinthian-,chalkidian types as models4 ,the #8,phineus' painter did not invent of himself the warrior with head in front view2 the slaying of ,troilos goes back to an old ,corinthian type2 the pursuit of the mounted ,penthesileia introduces1 it is true1 a new ,eastern ,amazon type in place of the old one 7which is also used in this group71 but is based on the composition of a ,corinthian battle picture4 ,what the #8,phineus' painter does with his models is always distinguished by individual and genuinely ,ionic life4 ,on the group of amphorae a fine vigorous figure style prevails1 which on the kylikes has a finer and at the same time more delicate development4 ,the charming ,athena 7,fig4 #gc71 who now appears in armour1 and whose shield-edge the painter for decorative reasons has doubled1 the ,scythian who like the mounted ,amazon is at home in ,east ,greece1 the skipping ,silenus1 the dog in front view would not tell us much of this kylix-style4 ,but fortunately the painter of the ,phineus kylix surrounded the fine ,silenus mask in the interior with a continuous frieze1 the lack of which a hundred contemporary vases could not outweigh4 ,the wall with the vine and the lion's head plainly divides the frieze into two scenes3 evidently a magic well1 which pours wine into the cup of the delighted ,satyr4 ,a lion1 a panther and two stags draw the chariot of the ,wine-god and his consort4 ,on the legendary team a ,satyr is making mischief2 two of his colleagues are quite diverted from their duty by the sight of three nymphs1 who are bathing at a spring in a wood4 ,a lion's head as spout pours into a basin the water with which they are laving themselves2 their clothes they have already hung up4 ,the other picture shows the blind king ,phineus1 from whom the ,harpies have taken the food off the table1 for which he is vainly feeling2 the valiant sons of ,boreas pursue the impudent thieves through the air over the sea4 ,all is living1 original and drastic in its conception1 as perhaps was only possible for an ,ionian4 ,the movements of the ,satyrs and the nude maidens1 the animals and plant-life are caught from nature1 and this study betrays itself in various details4 ,the face of ,phineus1 still painted red like that of the ,satyrs1 is drawn in front view1 which we have hitherto only found in the helmeted warrior's head1 the collar-bone and chest muscles are rendered1 the eyes of the ,boreads are already much reduced in scale4 ,especially important is the treatment of the drapery1 not to mention the linen chiton of ,dionysos with its parallel lines indicating the material1 or the long red chitons of the women and the curved outline of the shirts of the ,boreads1 or the garments of the ,harpies adorned with ,ionic crosses and borders2 important innovations appear in the himatia1 that of ,phineus is divided into ,illustration3 ,,plate ,,xxxviii4 ,fig4 #gd4 ,,phineus2 ,,dionysos3 ,,frieze ,,round ,,the ,,interior ,,of ,,an ,,ionic ,,eye ,,kylix4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 red and black stripes1 those of ,dionysos and the women show rendering of folds4 ,that the himation rather emphasizes than conceals the outline of the back1 is a true ,ionic feature4 ,beyond this stage1 the #8,phineus' fabric cannot be traced4 ,generally the ,cycladic pottery of this period is hard to get hold of4 ,we do not know whether there were more factories on the islands1 and some isolated but allied specimens with more fully ,ionic alphabet cannot yet be localized4 ,on the other hand1 the ceramic history of the ,greek ,east offers at least some fixed points1 though the transition from the old style has not yet been cleared up4 ,we were able to accompany the ,rhodian-,naukratite and the #8,fikellura' styles to the very threshold of the black-figured1 but here the thread seems to snap4 ,shallow bowls found in ,egypt and ,south ,russia with bud decoration and black-figured interior designs1 which were imitated by the ,attic ,vurv style1 and amphorae with remains of the old ornamentation and big isolated animal-silhouettes in the field1 perhaps represent the latest products of the ,rhodian style4 ,the #8,fikellura' style finds its continuation in a ware1 which was certainly produced in ,klazomenai1 perhaps also in several places at the same time1 and has come to light not only in the ,ionian region and the colonies in ,egypt and the ,black ,sea1 but also in ,italy4 ,the ,klazomenian style has in common with its predecessor not only a series of ornaments 7tongues1 rays1 late ,rhodian garlands1 continuous tendrils1 rows of crescents1 friezes of leaves1 #8metope' maeanders1 buds in the field1 scales over a surface71 but continues the old shape of amphora and has the same preference for loose decoration3 beside the vases adorned in bands1 on which the animal friezes are driven out of the chief band1 it is very fond of a field consisting of a reserved panel or running all round1 and of the decoration of the neck by means of an ornament1 an animal head or a human head4 ,in the field it likes to put instead of the heraldic pair a single animal1 a sphinx before a standing man or upright branch1 an isolated palmette and lotus cross1 which are in a measure constituent parts of heraldic compositions1 and shows the same freedom1 going even beyond that of the ,phineus painter1 when it makes isolated figures1 dancers1 running girls1 or men wearing mantles1 the central motive of its heraldic sphinxes or cocks1 and when it puts a runner with bent knee between two lions that turn away from him 7,fig4 #ge74 ,the palmette and lotus-cross and the animal types differ from ,western types2 the selection1 too1 is characteristic of the ,east4 ,there is a special preference for the ,siren3 this bird-woman is used surprisingly often heraldically1 and in rows to make a frieze4 ,the female panther occurs as well as the male2 the grazing deer is a ,rhodian legacy4 ,the ostriches show knowledge of ,africa1 the winged horses and boars connection with ,asiatic art4 ,the ,klazomenian style is particularly strong in the new formation of fantastic beings1 to which the near neighbourhood of the ,east gave the impulse4 ,the seahorse and the ,triton were invented somewhere in this area3 to the #8,fikellura' man with the head of a hare ,klazomenai adds a being with a tail and a lion's head among human revellers1 among dancing men and women appears suddenly the bearded monster with the horse's tail1 the ,satyr 7,fig4 #ge74 ,the stock of types varies considerably from that of the ,west2 this is particularly clear in the scenes with human figures4 ,beside the pictures of riders and battles1 beside the few preserved legendary scenes1 among which the most important are the battles of ,amazons1 who here in the ,east have become mounted ,scythian women1 the prominent place is taken by scenes of drinking and dancing in the ,illustration3 ,,plate ,,xxxix4 ,fig4 #ge4 ,,satyr ,,and ,,maenad3 ,,klazomenian ,,vase ,,from ,,kyme4 ,fig4 #gf4 ,,neck-,,design ,,of ,,an ,,ionic ,,amphora4 manner of the ,altenburg amphora 7,fig4 #fc74 ,the file principle1 so potent in the ,east ,ionic animal frieze1 strongly asserts itself in the dancing maidens and the abandoned revellers3 the oblique inclination forward1 which the ,klazomenian painter often gives the intoxicated1 and which is very successfully preserved on an early ,milesian relief in ,london1 emphasizes at the same time the decorative arrangement1 and increases the expressiveness1 just as the eccentric movements of the dancers equally well fill the space and mark the tone4 ,for life1 sensual and everyday though often grotesque and brutal1 is what these ,ionian masters give1 even if they are only decorative artists or artizans1 whatever it may cost4 ,so they succeed in nothing so well as women1 satyrs and animals4 ,the maidens with their receding foreheads1 almond-shaped and often obliquely set eyes1 and the little mouth somewhat drawn in below1 and the well-marked back contour1 have an attractiveness even on the most careless representations2 the shaggy satyrs betray their equine nature not merely in ear1 tail and hoof2 the robust strong-maned horses1 the female panthers with swelling breasts1 the fighting cocks forgetting their heraldic duties1 all show nature very close at hand4 ,the history of this style1 which must approximately extend over the first half of the #fth century1 can be to some extent followed4 ,in the beginning comes the conflict of the old ,ionic and ,western techniques1 the transition from the light slip to the reddish-yellow surface1 and the tendencies in ornamentation which still strongly remind one of #8,fikellura4' ,the silhouette style makes liberal use of white4 ,not only with inherited aversion does it often replace incision by delicate lines of paint1 provide garments with white crosses1 animals with white spots and white belly-stripe1 and ornaments with white details3 in its earlier period it also extends the white surfaces1 which it still places on the ground of the clay at times1 from women and linen chitons to men1 horses and dogs1 and becomes as parallel to the ,corinthian style with this contrast of colouring as with its wide-necked broad-bellied form of amphora4 ,the latest wares of the colony of ,daphne 7abandoned in #efj ,b4,c47 show the transition to the rendering of folds of drapery1 which takes the place of the old parti-coloured surfaces in the group of vases which took its rise about the middle of the century4 ,in this later group1 to which a series of #8lebetes' with topers1 satyrs1 centaurs1 and battle scenes is an obvious introductory link1 and which culminates in two amphorae at ,munich 7,figs4 #gf and #gh7 and one in ,castle ,ashby1 there enters into the old style varied1 free and easy1 broadly even laxly rendered1 a peculiar severity and discipline4 ,the three chief specimens1 necked amphorae with the continuous scene preferred by the ,east1 are more defined and elastic in shape1 more finished in shape and colour1 more ornamental and elaborate in the rendering of the figures1 than was the case with the earlier style4 ,the conclusion which naturally suggests itself1 that this new spirit came from the ,west and the ,chalkidian-,attic region1 is confirmed by the ornaments4 ,beside the ,ionic looped and plaited bands1 leaf and bud friezes1 and the continuous tendrils 7,fig4 #gf71 come the double rays1 the ,western palmette and lotus system2 and when the painter scatters animals among the ornaments 7,fig4 #gf71 he follows old ,ionic tradition1 but the hare and the hedgehog with the ostrich riders of the ,castle ,ashby amphora are of ,corinthian origin 7,fig4 #ff74 ,in the treatment of the figure1 the meeting of ,eastern vigour and ,western severity makes as charming an effect as the genuinely ,ionic and very decorative composition2 the scene of a ,munich amphora arranged round a centre 7,fig4 #gg7 with the cunning ,hermes1 who creeping up on ,illustration3 ,,plate ,,xl4 ,fig4 #gg4 ,,hermes ,,steals ,,the ,,cow ,,io ,,from ,,the ,,giant ,,argos4 ,,from ,,an ,,ionic ,,amphora4 ,illustration3 ,,plate ,,xli4 ,fig4 #gh4 ,,centaurs ,,hunting3 ,,from ,,the ,,same ,,amphora ,,as ,,fig4 #gg4 tip-toe steals away the fair cow ,io from the sleeping giant ,argos1 and the picture of the ,centaurs hunting on the reverse 7,fig4 #gh7 are full of ornamental vigour and at the same time full of fresh observation4 ,the left hand of the giant shows a new study of nature compared with the old-fashioned right of ,hermes and left of the front ,centaur2 in the giant the artist is struggling to represent the anatomy1 and the mantle of ,hermes plainly falls in layers1 in contrast with the absence of folds in the chiton4 ,the new impetus1 which even expressed itself in exportation to ,italy1 could not save the ,klazomenian manufactory from the preponderance of its ,attic rival2 it is at the same time its end4 ,not that the ,east ,ionic decorative tendencies formed a blind alley2 the combination with western technique ensured its continued life4 ,but ,asia ,minor1 which at this time fell into the hands of the ,persians1 was not a suitable soil for continued production4 ,athens seized not only the exportation but the entire production4 ,the arrival at ,athens of ,east ,ionic artists is reflected not merely in the names of the vase-painters4 ,when on the jug of ,kolchos and the ,attic vases1 typical ,eastern principles of composition crop up1 when ,nikosthenes introduces an ,east ,ionic shape of amphora 7,fig4 #ajd71 when the red-figured technique coming into existence on ,klazomenian sarcophagi conquers the ,attic workshops1 when on early red-figure kylikes the same decorative tendencies which prevailed in the ,east assert themselves1 there can be no question of an extinction of ,east ,ionic art1 but only of a re-birth in ,athens1 and a baptism with ,attic spirit4 ,about on a level with the ,castle ,ashby group is another ,east ,ionic class1 also only known through export to ,italy1 the #8,caeretan hydriae1' so-called from the place where they were mostly found 7amphorae and kraters being also represented71 which are usually attributed to ,south ,east ,ionia4 ,the developed vase-shapes1 the completed black figure technique1 which has a wash under the white and uses incision freely even for outlines1 and the decoration1 which has got beyond the animal style1 make their late origin certain1 and the agreement with ,ephesian sculpture of about #eej ,b4,c41 expressed in treatment of hair1 converging mantle folds and the graded edges of the drapery1 clinches the matter4 ,when in spite of that these vases stick fast to the system of contrast in colour1 that agrees with an expressed preference for gay decoration such as from the days of the ,naukratis vases ,south ,east ,ionia loved4 ,the #8,caeretan' painter actually enhances this colour preference1 in that he varies the colour of the male body from black to dark red1 bright yellow and white and similarly alternates the colour of hair and clothes4 ,he gives the same motley effect to the ornamentation1 which shows plainly its descent from the old ,rhodian in its broad lotus and palmette system1 its rosettes1 hook-crosses1 and spiral-crosses ornamenting the neck1 and also reveals ,east ,ionic freedom in natural myrtle branches and ivy-tendrils1 in bucrania with festoons and in interspersed animals4 ,the animal world too1 with its fallow deer1 lions1 griffins1 winged horses1 and winged bulls1 is characteristic of the ,east and the neighbourhood of ,asia4 ,these animals have long ceased to play their heraldic part1 though on the reverse of the vase two may face each other in symmetrical correspondence2 they are rather by choice included in hunting scenes4 ,the traditional tendency finds a refuge1 if anywhere1 in the figure scenes4 ,in heraldic scenes of battle1 in the horse-taming #8runner with bent knee1' in ,satyr and ,nymph running to meet each other1 it asserts itself3 but the living interest makes one forget the ornamental scheme4 ,lively drastic description is the strong point of the #8,caeretan' painter4 ,his broadly treated scenes of hunting1 fighting1 and wrestling1 the fine delineations ,illustration3 ,,plate ,,xlii4 ,fig4 #gi4 ,,herakles ,,slays ,,busiris ,,and ,,his ,,followers3 ,,from ,a ,c,,retan ,,hydria4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,fig4 #hj4 ,,spartan ,,kylix4 ,illustration3 ,,plate ,,xliii4 ,fig4 #ha4 ,,herakles ,,brings ,,cerberus ,,to ,,eurystheus3 ,c,,retan ,,hydria4 of ,satyr life1 of the ,heraklean legend1 of ,hermes and his theft of the kine1 of the drunk and lame ,hephaistos1 of ,europa carried by the bull over the sea1 leave nothing to be desired in the way of original invention1 healthy vigour1 and naive vividness1 and in their aversion to the typical and abstract they are diametrically opposed to ,attic painting4 ,the stocky1 strong man ,herakles with the curly hair who dispatches the inhospitable ,pharaoh1 ,busiris1 and his cowardly throng 7,fig4 #gi71 or who with the hound of hell frightens the ,argive king into a wine jar 7,fig4 #ha71 are cabinet pictures of vigorous humour4 ,the local colouring is also unmistakeable4 ,the altar with volute profiles is an ,east ,ionic architectural shape1 the knowledge of the ,egyptian and black races1 of ,egyptian priestly dress1 of monkeys1 can only have been obtained in ,africa2 the origin of the ,busiris legend is only conceivable in the neighbourhood of the kingdom of the ,pharaohs4 ,thus though the ,caeretan vases found a local continuation in ,etruria1 because of this local colouring one cannot imagine them made by ,ionian colonists in ,caere4 ,on the other hand one may assume origin on ,etruscan soil for another class of ,east ,ionic style1 only known from ,etruria1 called #8,pontic1' as having been wrongly localized on the ,black ,sea4 ,the ,asiatic-,ionian origin of the style is based on the vase shapes as on the choice1 technique1 types and application of the ornamental and animal decoration2 and also the figures1 the lines of ,tritons and ,nereids1 riders and ,scythians1 heralds and ,centaurs1 and the legendary scenes1 which are often under ornamental influence 7,figs4 #hb and #hc7 in execution and application1 point to the same source4 ,the #8,pontic' painters actually enrich our knowledge of ,east ,ionic decorative motives by a series of combined lotus1 palmettes1 volutes1 maeanders1 by net patterns1 leaf-friezes1 etc41 by a plentiful selection of animals1 which includes the marine ,centaur1 with the ,asiatic man-bull1 and is fond of lines of guinea-fowls4 ,but on the whole the class is very provincial and cannot be regarded as a clear source of evidence4 ,it is questionable1 whether obstinate persistence in stripe decoration1 only reluctantly giving way to the picture field1 would have been possible in the mother-country well on in the #fth century4 ,the style is visibly departing further from its ,greek starting point4 ,vases which represent ,lanuvian ,juno 7,b4,m4 ,cat4 ,,ii4 p4 #ff7 or ,etruscan winged demons1 show in subject what the style of itself betrays4 ,two classes with scanty decoration1 fixed as ,east ,greek by many finds1 can only be named for completeness sake2 one1 the #8,bucchero' ware long known in ,etruria1 which perhaps originated in ,aeolis and which owes its black lustre not to glaze colour but to impregnation with charcoal and to polishing2 the other1 the ware with a great extension in ,south ,asia ,minor and ,italy1 either unadorned1 or only decorated with stripes1 which give important conclusions as to the development of vase-shapes4 ,the ,east ,greek manner took the place of the ,corinthian in ,italy at the beginning of the #gth century4 ,this revolution is less connected with importation than with the immigration of ,ionic artists4 ,but even the new current is more and more open to the influence of the ever-spreading ,attic importation1 which in the ,east and ,west not merely captures the market but also forces production under its spell4 ,before we pass to this victorious fabric1 we must once more return to ,peloponnesus1 to a fabric standing in isolation and of marked peculiarity1 the ,spartan4 ,excavations at ,sparta show the transition to the black-figured style1 such as took place elsewhere about the end of the #gth century4 ,corinth seems to have set the example for this transition2 ,illustration3 ,,plate ,,xliv4 ,figs4 #hb #hc4 ,,paris ,,and ,,his ,,herd2 ,,priam ,,and ,,hermes ,,lead ,,hera1 ,,athena ,,and ,,aphrodite ,,before ,,paris3 ,,from ,a ,,pontic ,,amphora4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 at all events ,corinthian elements1 e4g4 riders with birds for space-filling in the black-figured style give this indication1 though the conservative retention of the white slip and the inconsistent rendering of the male eye clearly distinguish it from ,corinthian4 ,it becomes really tangible to us at the period1 when exportation properly begins1 at a time which already puts a black wash under imposed white and with the shapes takes us further along into the #fth century4 ,the ware for exportation1 which spread far over the mainland to ,naukratis and ,samos as well as to ,etruria1 has given us only a few big vases1 finely decorative works1 which are very conservative in their adornment4 ,the earliest of them is a ,paris #8lebes' with heraldically arranged animal-frieze and a frieze of figures above it1 in which pot-bellied topers are placed between the ,troilos story and a ,centaur battle2 two volute kraters and two hydriae1 by their shapes1 cannot be much later4 ,broad tongues adorn shoulder and foot1 the rays are doubled1 to ,geometric zig-zag and hooked bands are added upright arched friezes of lotus and pomegranate1 continuous branches1 and the lotus and palmette pattern2 the animal friezes have types of their own and do not avoid the processional order not ordinarily favoured in the ,west4 ,even the larger vases found in actual ,spartan sanctuaries are almost entirely decorative and show little of the figure painting coming in so vigorously in other manufactories4 ,a compensation for this is offered by the number of kylikes preserved1 which in the #fth century1 as in ,east ,ionia1 ,corinth and ,athens1 so also in ,sparta1 gradually pass into the high-stemmed shape with offset rim 7,fig4 #hj74 ,the outsides of these kylikes are adorned only in a few earlier specimens with antithetic or processional animal friezes1 otherwise only with the simple or net-like pomegranate pattern1 with lotus leaves and rays2 from the handles proceed palmettes on their sides4 ,the figures are entirely confined to the interior1 which much more commonly than in other manufactories1 rises out of pure ornamentation or animal decoration to free scenic representations4 ,to be sure this is often at the expense of the decorative effect4 ,most scenes are anything but composed with a view to a round space1 and the segments under the line which marks the level of the ground1 often very clumsily filled with plant and animal ornamentation1 the rosettes1 filling flowers1 and birds dispersed without meaning about the scene1 are always clumsy old-fashioned compromises between representation and space-filling4 ,the stock of figures1 with which the painter decorates his interiors1 usually more or less at random1 is even in its rendering helpless and antiquated2 to make up it preserves its independence and ease1 its primitive solidity2 the strong warriors1 riders and hunters1 the men carousing with women1 the musicians and drinkers1 the girls bathing in the river1 are in subject and execution truly ,spartan4 ,beside the pictures from daily life comes mythology with pot-bellied dancers1 who have not yet1 so far as we know1 been superseded by ,ionic ,satyrs1 with ,erotes crowning riders and drinkers1 and various legendary scenes4 ,none of these kylix-pictures breathes the ,spartan spirit1 the spirit of the lyric poetry of ,sparta1 so well as the ,berlin vase with the carrying home of fallen warriors1 which is perhaps taken over from a continuous frieze without any attempt to fit it into the circular field2 but even in this shape has the effect upon us of a funeral march of ,kallinos or ,tyrtaios 7,fig4 #hd74 ,but in humorous descriptiveness the ,arkesilas vase 7,fig4 #he7 takes the palm4 ,it is a genre scene1 but not this time from the life of a ,spartan citizen1 but a travel reminiscence of a painter1 who once in ,african ,cyrene looked on1 while the silphion was weighed under ,illustration3 ,,plate ,,xlv4 ,fig4 #hd4 ,,returning ,,from ,,battle3 ,,from ,a ,,spartan ,,kylix4 ,illustration3 ,,plate ,,xlvi4 ,fig4 #he4 ,,arkesilas ,,of ,,cyrene ,,watching ,,the ,,lading ,,of ,,silphion3 ,,from ,a ,,spartan ,,kylix4 the stern eye of ,arkesilas1 and stowed in the hold of a sailing ship to be exported4 ,the monkey too1 which the painter puts on the yard1 he became acquainted with in ,africa2 the birds are not meaningless but fly round the ship2 only the lizard is an external addition1 and we already know it to be ,corinthian4 ,the life-like picture1 which before the decisive excavations in ,sparta was regarded as chief proof of ,cyrenaic origin for this pottery1 confirms the result of digging in the shape of the chair legs1 which agree with ,spartan reliefs1 and in the inscription1 only possible in ,sparta4 ,there is an approximate date given too2 for the king1 whose portrait we have1 reigned about the middle of the #fth century4 ,with this it agrees that his mantle is divided into black and red stripes1 which1 as we saw in the ,phineus kylix1 comes before the rendering of folds4 ,this conservative style does not show the same keenness as its contemporaries in rendering folds and developing the knowledge of anatomy2 nor is the need felt for a long time of freeing the field from filling ornaments or the base segment from animal decoration4 ,the group of vases which belongs to the second half of the century is especially marked by the return of the white slip and of polychromy in the ornamentation4 ,it is only late that the ,spartan painters turn to the rendering of folds and richer body details1 really only in a time of decadence1 which diminishes the foot1 no longer colours the ornament1 and often avoids the base-segment4 ,the occasional use of pale red figures painted on a black ground with incised details can only be explained as a provincial imitation of ,attic red-figured technique1 with the superiority of which ,sparta cannot even remotely compete4 ,similar vases without any figures show the last output of the fabric4 ,the only fabric in which the black-figured style completed its life and exhausted its possibilities1 the only one which shows its living force through the archaic and classic periods1 is the ,attic4 ,even at the end of the #gth century it begins to vie with others4 ,we already saw that ,vurv vases were exported to ,east ,ionia2 the ,gorgon lebes of the ,louvre comes from ,italy4 ,etruria now becomes the chief place where ,attic and indeed all black-figured vases are found4 ,the fact that ware made to be exported to ,etruria first gave us the knowledge of ,greek vase-painting1 led enquiries on false tracks for a long time in localizing the fabrics1 and even to-day the word #8vases' reminds us of the decisive finds on ,italian soil4 ,the ,attic manufactory is1 as we saw1 proved not only by the alphabet of their inscriptions but also by continuous finds in ,attica itself4 ,to be sure1 the inequality of production in technique and style obtrudes itself on us here more than elsewhere1 and makes us take fabric in a wider sense1 as a complex of workshops1 which turn out at the same time good and rubbishy ware1 traditional and progressive painting1 vases with light or dark-red clay4 ,the ,boeotian workshops1 without doing them injustice1 we may class with ,attic workshops of the second class2 in the #fth century1 in so far as they do not go on turning out their old bird kylikes 7p4 #eb71 they are only provincial offshoots of ,attic industrial art4 ,the same is the case with ,eretria4 ,the inequality of ,attic ware has yet other reasons4 ,more than other fabrics the ,attic adopted foreign influences4 ,athens' central position between ,corinth1 ,chalkis and the ,cyclades1 its relations to ,east ,ionia1 led to a penetration of old ,attic art traditions with other elements and to the formation of a new style3 the rise of trade and industry enticed alien painters to settle at ,athens1 since foreign fabrics had more and more to give in to ,athenian superiority4 ,thus it is that ,corinthian1 ,chalkidian1 #8,phineus1' ,east ,ionic1 occasionally even ,spartan fabrics ,illustration3 ,,plate ,,xlvii4 ,fig4 #hf4 ,,wedding ,,of ,,peleus3 ,,fragments ,,of ,a ,,cauldron ,,by ,,sophilos4 ,fig4 #hg4 ,,attic ,,tripod-,,vase4 are reflected in the ,attic pottery4 ,these reflections give a very varied air to ,attic pottery1 but on the other hand help to a dating of its separate phases4 ,after a period of ,corinthian influence follows one with a strong ,chalkidian element1 in the eye-kylikes the pattern of #8,phineus' ware is at work1 while relations to ,east ,ionic art run along side by side4 ,the group1 which one is inclined to make parallel with the red-clay ,corinthian1 may be named the #8,sophilos' group from the fragments of a #8lebes' found on the ,acropolis 7,fig4 #hf74 ,in contrast with its immediate predecessor the ,sophilos vase vies in motley effect with ,corinthian ware4 ,ornament is richly painted2 himatia and borders are picked out in colour1 women and linen chitons have a white filling2 in the red of the male face and the varied colouring of the horses the system of contrasted colours is as plainly exhibited as in the red colouring of the male breast or of the whole male body on other contemporary vases4 ,the marriage of ,peleus and ,thetis is the subject1 in a type repeated on the ,franois vase 7,fig4 #ij71 which we see developed on ,corinthian kraters1 probably under the influence of the chest of ,kypselos4 ,who introduced into the scene the ,muse in front view playing on the syrinx1 cannot be stated2 the lower part of the body in profile is in marked contrast with this bold front view2 that it is of ornamental origin1 perhaps from a double ,siren1 might be suggested without its being too venturesome4 ,the frieze is framed between a broad lotus and palmette pattern and a stripe with large animals4 ,whether the filling ornament has been omitted from the animal as well as from the figured frieze1 in which nothing but the big lettering reminds us of the old requirement of filling the space1 cannot be ascertained from this specimen2 a second vase of the same painter shows between the animals1 which still suggest the ,vurv style1 isolated large rosettes1 and other vases of this group make a palmette flower or bud with stalk project into the field4 ,these isolated echoes of the old filling ornamentation1 influenced by the ,east like the gradually appearing friezes of buds and leaves 7p4 #hc7 disappear about the middle of the century2 but the animal friezes themselves live on longer4 ,this survival of old decorative tendencies in a new shape appears still more plainly in other vases of the 8,sophilos0 period4 ,the amphorae1 which leave a 8metope0 unpainted to carry their figures or make the figure field continuous1 when they do not cover the whole body with stripes1 have like the ,klazomenian on the neck a head1 a lotus and palmette cross1 or a circle between zig-zags 7the amphora which ,dionysos is dragging on the ,franois vase is of this type71 and prefer still to decorate their stripes and fields with heraldically arranged animals4 ,the ,ionic liberties too1 the meaningless compositions1 are not infrequent1 just as beside many ,corinthian echoes in the friezes of animals and riders1 ,ionic patterns often assert themselves in the drawing and colouring of the animals1 and in the shape and decoration of the vases4 ,the kraters and hydriae which are parallel with the ,corinthian1 give the same impression4 ,of the smaller vases we may select two hasty compositions1 which cannot compare with the fine work of ,sophilos1 but in their way help to enlarge our idea of the period4 ,the ,munich tripod-vase 7,fig4 #hg7 in the stripe on the rim shows alongside of the old animal composition two wrestlers of the ,corinthian scheme and a horse race from the same source1 the succession of which is interrupted by a fallen horse just as the animal friezes of contemporary vases contain fighting animal groups2 and a kantharos of ,boeotian manufacture and shape 7,fig4 #hh7 over the animal frieze introduces the wild dancers1 who as at ,corinth1 ,chalkis and in ,east ,ionia prepare the way for the ,satyrs4 ,illustration3 ,,plate ,,xlviii4 ,fig4 #hh4 ,b,,otian ,,kantharos4 ,fig4 #hi4 ,,arrival ,,of ,,theseus' ,,ship ,,at ,,delos3 ,,detail ,,of ,,the ,,fran,,ois ,,vase1 ,,fig4 #ij4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,just as we followed the process in late ,corinthian and ,chalkidian workmanship1 so in ,athens the broad1 massive archaic black-figured style in the shape of the vase and the rendering of the figures passes into more and more elegant compression and precision2 ,sophilos is followed by ,klitias4 ,the ,florence vase #8made' by the potter ,ergotimos1 #8painted' by ,klitias and named after its finder ,franois 7,figs4 #hi and #ij71 even in the boldly rising outline of the body shows the spirit of a new age1 and goes beyond the round-bellied shape of the ,gorgon #8lebes' as much as the late ,corinthian kraters surpass the ,eurytios vase 7,fig4 #fd74 ,ergotimos holds the mean between the old round-bellied vase shapes and the more elegant ones of the ,chalkidian best period 7p4 #gg71 just as ,klitias does between the figured style of ,sophilos and that of ,amasis 7p4 #aje72 and as ,ergotimos does his best in delicately moulding the shape and gives the vase a showy appearance with his elongated handle volutes1 so in the figured decoration covering the whole surface and in the incredibly delicate execution of all details ,klitias presents a refinement of the black-figured style which in its way cannot be surpassed4 ,potter and painter here take a step1 which secures for ,attic pottery the paramount position for all time4 ,the treatment of the procession of the ,olympians in honour of the newly-wedded sea-goddess on the principal frieze is particularly rich4 ,we have seen that ,klitias here utilized an old type4 ,the representative solemnity required by the subject gives an archaic stamp to this frieze2 in particular the richly adorned festal clothes with patterns that it almost requires a microscope to see1 which bear witness to uncanny patience and accuracy on the part of the painter1 heighten the stiffly venerable impression4 ,but when compared with ,sophilos1 ,klitias shows a considerable advance in the rendering of nature4 ,for that we must not lay stress on the head of ,dionysos in front view1 for the god's mask-like appearance passed from cult into vase-painting2 but we may point to the diminished heaviness of the figures1 the smaller size of the eye1 the division of the himatia into stripes1 which here and there converge like folds1 and the reduction in size of the inscriptions4 ,the other friezes exhibit ,klitias as a master of the delineation of life and movement3 the arrival of the ship of ,theseus at ,delos 7,fig4 #hi71 the hunt of ,meleager1 the battle with the ,centaurs1 the chariot-race1 the return of ,hephaistos1 the adventure of ,troilos1 and the delightful frieze on the foot with the battle of dwarfs and cranes2 even the heraldic animal frieze is seized by the same liveliness1 for between the heraldic sphinxes and griffins the animals1 now treated in quite an elegant and concise way1 are attacking each other4 ,how much of these scenes is due to the inventiveness of ,klitias and his direct observation of nature cannot be made out4 ,he has not got the rough freshness and naturalism of the ,ionic painters1 but instead a marked feeling for clear and speaking types2 and generally speaking1 discipline and the gift of abstraction seem to have been more characteristic of the ,athenians than of the ,ionians1 who set more carelessly to work4 ,perhaps ,klitias got from eastern masters the interruption of the heraldry in the animal frieze by fighting groups2 and at any rate the ,satyrs who accompany the drunken ,hephaistos come from the ,east into ,attic pottery4 ,in the technique of the figures1 the old style is worthily putting forth its last efforts2 the white is still put direct on the clay1 the man's face is coloured red1 black horse alternates with white4 ,but with the perfection of the clay and the black used in painting1 and the minute detail of incised lines1 a new feeling for colour is brought in1 which leads away from the old motley effect2 the masters of the ,illustration3 ,,plate ,,xlix4 ,fig4 #ij4 ,,krater ,,by ,,klitias ,,and ,,ergotimos3 8,,the ,,fran,,ois ,,vase40 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,franois vase themselves in their later works go over to the new system1 which paints a ground for the white and gives up red in the male body1 a system which1 perhaps1 other less thorough artists had already set going4 ,the chariot-race for a prize on the neck of the ,franois vase introduces us to an old and popular contest1 which according to tradition ,pisistratus replaced by other games1 when in #eff ,b4,c4 he reformed the ,panathenaea4 ,at the same time he must have erected a new image of ,athena on the ,acropolis1 which1 in opposition to the old conception1 7p4 #ff7 still followed by the ,franois vase1 represented the goddess in full armour4 ,for on the prize vases1 which were given to the victors full of precious oil and labelled #8one of the prizes from the city of ,athens' 7 71 ,athena always appears as a fighting warrior1 just as the poet ,stesichoros and paintings of the time of ,sophilos had made her leap from the head of ,zeus4 ,the oldest of these ,panathenaic amphorae 7an idea of their shape is given by ,fig4 #aja1 a later specimen of about #ebj ,b4,c47 shows on the obverse the new type of ,athena in the making1 and on the reverse the chariot-race which was now becoming infrequent4 ,since this vase adheres closely to the ,sophilos group in style and especially in the animal decoration of the neck1 but on the other hand already has a painted ground for white1 it will not be possible to move the ,franois vase and the transition to the later technique away from the sixties of the #fth century4 ,the group of kraters1 lebetes1 hydriae1 amphorae and other vases1 which immediately adheres to the ,franois vase1 usually1 in so far as it is not interrupted by marked individualities1 is described by the antiquated name #8,tyrrhenian1' derived from the finds in ,etruria4 ,the conservative and often mechanical character of these vases does not conceal the progressive elements4 ,the vases assume the more slender egg-shaped form known to us from ,chalkis1 the old neck ornament of the amphorae 7p4 #if7 is replaced by lotus and palmette4 ,white colour is regularly placed on black ground2 ,herakles is often equipped with the lion's skin2 ,athena with at any rate helmet and spear2 in place of the old-fashioned burlesque dancers and naked women come ,satyrs and ,maenads4 ,but of improvements in observation of nature this second-class group has hardly any to show4 ,it lives on the achievements of great masters1 on ,corinthian traditions1 and eastern influences4 ,the frieze amphorae1 which continue alongside of the amphorae with picture field1 vie with the ,franois vase in the accumulation of figured friezes2 only in the lower stripe they economize in figure scenes by using lines of lotus and palmettes and animals4 ,thus their general appearance is still very like the ,vurv vases1 the ,gorgon lebes and many vases of the ,sophilos period4 ,the traditions of the #gth century end in this mechanical group2 the great masters of the second third of the century bring1 perhaps from ,chalkis1 new vase types and new kinds of decoration4 ,the transition may first be followed in the ,kylix1 which happily can be traced in its development by many signed specimens4 ,the firm of ,ergotimos produces a cup with knobbed handles and no set-off for the rim1 the interior picture of which is framed by tongue pattern1 thus a kylix of the type known to us from ,corinth and ,chalkis2 on the outside the ,satyr is still loosely connected with drinkers of the old type1 and has thus not yet been associated with ,dionysos and the ,maenads4 ,this type of kylix shews marked ,chalkidian influence1 especially in later specimens like that of ,boston 7,fig4 #ib71 on which ,circe 7painted white over black7 hands to the companions of ,odysseus the fatal potion and so brings about her own abrupt end4 ,series of branches and buds1 probably also the dog in front view 7p4 #ha7 ,illustration3 ,,plate ,l4 ,fig4 #ia4 #8,,little ,,master' ,,kylix4 ,fig4 #ib4 ,,attic ,,kylix ,,with ,,knob-,,handles4 and much in the style of the figures come from the neighbouring fabric4 ,this ,chalkidian influence is to be traced on a second type of kylix belonging to this period1 that with off-set rim1 7not the one in ,circe's hand71 which for a time carelessly draws its figures over the junction1 but finally makes a clean cut between handle frieze and rim ornament3 the rim is e4g4 decorated with a branch or painted black1 the handle frieze bears figures or the artist's signature in neat letters between the palmettes proceeding from the handles4 ,the masters of the ,franois vase themselves took this step forward2 in ,naukratis and the interior of ,asia ,minor signed specimens have been found1 speaking documents of the popularity of the fine ,attic ware in the ,east1 which help to explain the alteration of the ,ionic style 7p4 #hf74 ,the workshop of ,ergotimos passed to his son ,eucheiros 7,b4,m4 ,cat4 ii41 p4 #bba71 who1 like the sons of ,nearchos1 ,ergoteles and ,tleson 7,b4,m4 ,cat4 ii41 p4 #bbb7 is found among the so-called #8little masters1' the makers of dedicated high-stemmed cups1 who1 with special pride1 and probably also for decorative reasons1 put their names on their products4 ,more than twenty makers' names1 among them those of ,exekias1 ,pamphaios1 ,charitaios1 ,hischylos1 and ,nikosthenes1 have been handed down to us on these vases1 an important piece of evidence for the vigour of ,attic production in the generation after ,klitias and ,ergotimos4 ,these masters preserve the division between handle and rim stripes1 even when the rim is not marked off from the body4 ,as with ,klitias1 the handle stripe bears the master's inscription or a drinking motto2 in this case the representation1 consisting of neat miniature figures or a female head drawn in fine outline1 moves into the upper stripe 7,fig4 #ia74 ,side by side with that1 the painting of the rim black and decoration of the handle stripe with figures are very common4 ,in the figures decorative tendencies1 betokening intention rather than convention1 assert themselves4 ,the interior picture often consists of the ,gorgon's mask1 or a figure to fill the space to fit the circle2 the outside often bears meaningless compositions 7heraldic animals1 winged creatures1 runners1 riders1 men wrapped in cloaks71 out of which develop scenes of hunting and pursuit1 chariot-races1 and cock-fights2 but also mythological scenes and vigorous battle pictures with many figures occur4 ,when such scenes are still flanked by heraldic animals1 in this case primitive traditions are consciously retained4 ,on the ,munich kylix 7,fig4 #ia7 the painter in the inscription praises the beauty of ,kalistanthe4 ,more commonly fair boys are praised1 a practice which continues on vases for a century1 the explanation being supplied by the erotic scenes represented from the later time of ,klitias4 ,those celebrated are seldom to be regarded as the favourites of the vase-painters themselves1 but generally sons of the best society1 for whom there was a furore4 ,this worship of beauty is of use to the historian1 for many of the ,kaloi are great persons with established dates1 and anyhow the common love-name puts all vases which bear it into a short period of time2 for the bloom of beauty lasts not more than a decade4 ,if the kylikes of the #8little masters' last to the beginning of the red-figured style 7p4 #aji71 the eye-cups go a good bit beyond this limit4 ,the type must have been brought to ,athens from the #8,phineus' manufactory 7p4 #hj7 in the later period of the #8little masters'2 and perhaps the ,ionian ,amasis1 who has left a fine specimen with a figure holding a branch between the eyes1 had much to do with this naturalization4 ,certainly the ,attic artists never rival the swelling shapes and vigorous life of their prototypes4 ,with this type the outside begins again to be treated as a decorative unit ,illustration3 ,,plate ,,li4 ,fig4 #ic4 ,,dionysos3 ,,interior ,,of ,,an ,,eye ,,kylix ,,by ,,exekias4 without division1 an arrangement of which the red-figured style makes almost exclusive use4 ,the interior is generally not more richly decorated than by the #8little masters4' ,when ,exekias on one vase adorns the whole interior surface with a wonderful idyll1 the giver of the vine in a sailing boat with dolphins leaping round him1 this is quite an exception 7,fig4 #ic73 that the ground is painted brick-red1 is quite unique4 ,the names ,ergotimos and ,klitias1 ,exekias and ,amasis1 ,charitaios1 ,pamphaios and ,nikosthenes show that the manufacture of kylikes was by no means a separate speciality1 and that it may be simply due to accident if certain firms producing larger vases do not recur among the #8little masters4' ,the larger masterpieces naturally show the progress of the style much more plainly than the conservative ,tyrrhenian ware and the kylikes4 ,we noticed above1 that single specimens1 which stand out markedly from the ordinary ware of the period1 attach themselves to the ,franois vase4 ,the master of a fine lebes from the ,acropolis showing ,ionic influence1 who occasionally still colours the male face red1 probably emigrated from the ,east like his contemporaries ,kolchos and ,lydos4 ,like ,klitias1 the masters prefer to cover garments with rich patterns rather than to render folds3 they relieve the monotony of white chitons by vertical strokes1 and divide the surfaces of cloaks into stripes4 ,this division does not yet attain any effect of depth4 ,but when ,nearchos1 the father of two #8little masters' 7pp4 #aja and #aab71 divides the short male chiton also by wavy lines into black and red stripes1 he has already in his mind the rendering of folds1 and ,kolchos grades the ends of cloaks with clear folds4 ,this emancipation from the old superficiality1 which in the period of the #8little masters' leads to the emergence of the #8fold' style in the works of ,amasis and ,exekias1 must now be exhibited in a selection of amphorae and hydriae in connection with the change of vase-shapes and decoration4 ,we begin with the big-bellied amphora1 which at the end of the #gth century we saw reserve a square field and decorate it with horses' or women's heads1 and which in the period of ,sophilos begins to put an upper border of ornament on its figure-field1 which is often adorned with animals4 ,fine specimens of the ,klitias period1 which banish the animal ornament into a lower frieze or give it up altogether1 show an obvious change in shape1 in that the handles1 instead of standing off like ears1 are drawn up perpendicularly1 while the body of the vase is to some degree tightened4 ,vases like that of ,taleides with the slaying of the ,minotaur1 or like the unsigned ,iliupersis vase in ,berlin 7,fig4 #id7 with the gay alternate palmette pattern and the old heavy foot of the ,franois vase1 belong to this class4 ,on both vases standing figures form an extension of an animated central group1 but the ,iliupersis master makes a better whole of his triptych than ,taleides1 who merely juxtaposes the heroes' conflict and the spectators3 alongside of the furious ,neoptolemos1 who has already laid one ,trojan low and is on the point of despatching the aged king and his grandson with one blow1 ,menelaos threatens his faithless wife1 whom he has won back1 while on the other side ,priam's entreaties are supported by wife and daughter3 a picture rich in content1 of true archaic vividness and talkativeness1 excellently drawn and composed4 ,it is not only the way in which white is used that takes one beyond the ,franois vase2 the rosette ornamentation of the garments is quite typical of the following period 7,fig4 #ib72 the wavy striping of the short chiton and the simple grading of the cloak reminds us of ,nearchos and ,kolchos1 and whether ,klitias could have characterized a dying man as well as our master is at least ,illustration3 ,,plate ,,lii4 ,fig4 #id4 ,,iliupersis3 ,,from ,,an ,,attic ,,amphora4 ,illustration3 ,,plate ,,liii4 ,fig4 #ie4 ,,satyrs ,,at ,,the ,,wine-,,press3 ,,from ,,an ,,attic ,,amphora4 questionable4 ,the current of ,chalkidian influence1 which sets in vigorously about this time1 seizes also the body amphora4 ,the arched foot becomes more plate-like1 a clay-ring unites it with the end of the body1 which is more taper2 the ,chalkidian wreath of buds 7,fig4 #ga7 for a time commonly takes the place of the palmette and lotus band1 which becomes scantier and more monotonous1 and as at ,chalkis1 a figure frieze 7,fig4 #ie7 may occupy this space4 ,the type belongs to the earlier #8little master' period4 ,from ,exekias1 who was himself in his off-hours a #8little master1' comes a specimen in the ,louvre with the praise of the fair ,stesias1 a youthful work of this worthy successor of ,klitias1 on which ,chalkidian patterns are very finely worked out1 without the slightest attempt at the rendering of folds4 ,the unsigned ,wrzburg amphora of ,amasis 7,fig4 #ie71 like all the vases of this master peculiar in shape and of perfect technique1 is more progressive and probably somewhat later than the ,stesias amphora of ,exekias3 the cloak of ,dionysos on the obverse is laid in three folds2 on the reverse the shaggy satyrs1 stylized in a quite un-,attic way1 who to the sound of the flute are gathering1 pressing1 and distributing into jars the beloved gift of the god1 show the same connection with the #8,phineus' factory as the eye kylix 7p4 #ajb74 ,the technical perfection and the fine decorative effect of ,amasis' vases are only surpassed by a wonderful contemporary group1 which is usually called the #8affected' class1 because it consciously sacrifices the living representation of the figure world to the ornamental general effect4 ,the over-elegant works of ,exekias1 the #8affected' vases1 the minute #8little master' kylikes represent the last refinement of the silhouette style1 its last trump-card4 ,the future belonged not to the masters of the adorned surface1 but to the delineators of the surface in movement4 ,in the last phase of the body amphora prior to the red-figured style1 in which the band-like handles and the narrower neck are drawn higher and the stiff palmette pattern becomes canonical1 ,exekias in his riper development passes over to rich rendering of folds2 on the harmonious amphora in ,rome1 which no longer praises ,stesias but ,onetorides 7,fig4 #if7 he exhibits in the cloaks of the players the last possibilities of his subtle technique with an almost incredible devotion to detail1 but even these fine clothes have their edges overlapping1 and on the reverse of the vase1 besides foldless patterned clothes1 appear cloaks richly animated with folds4 ,the amphora must be of the same period as the eye kylix 7,fig4 #ic72 not only the feeling as a whole but the dark-red chitons in layers on the outside point to the late activity of the master4 ,the necked amphorae complete our idea of the two great masters4 ,the old heavy shapes with the arched foot take up ,chalkidian influences and go through the same processes of change1 which we know from ,chalkis4 ,the old-fashioned decoration with animal stripes is retained by the ,tyrrhenian vases1 that with continuous pictorial field by the #8affected' group for a time1 till the later ,chalkidian type conquers the whole field 7,fig4 #fi74 ,amasis seems not merely to have introduced it into ,athens but also to have created the pretty variation with the flat shoulder with a rectangular turn and the wide handles running out below into tendrils3 for these continuous tendrils are old property of his eastern home4 ,the handle ornament separates off the pictures on the two sides and liberates the figures from the constraints of a frieze4 ,the ,paris amphora with ,dionysos and the interesting group of embracing ,maenads 7,fig4 #ih7 is closely connected with the ,wrzburg amphora 7,fig4 #ie7 not only by the double rays1 which ,amasis loves1 ,illustration3 ,,plate ,,liv4 ,fig4 #if4 ,,achilles ,,and ,,aias ,,playing ,,at ,,draughts3 ,,from ,,an ,,amphora ,,by ,,exekias4 ,fig4 #ig4 ,,attic ,,necked ,,amphora ,,with ,,satyr-,,mask4 ,illustration3 ,,plate ,,lv4 ,fig4 #ih4 ,,necked ,,amphora ,,with ,,the ,,signature ,,of ,,the ,,potter ,,amasis4 ,fig4 #ii4 ,,detail ,,from ,,the ,,interior ,,of ,a ,,cauldron ,,by ,,exekias4 by the grouping1 which in the other vase is transferred without change to satyrs1 by the beginning of himation folds1 but also by many details of the very individual style4 ,the aversion to white colour is interesting4 ,on both vases the linen chiton of the god is left black2 the ,paris maenads are rendered in outline only3 it is but seldom that the reaction against the old parti-coloured scheme goes so far4 ,parallels are provided by the ,athena of ,kolchos' jug and the girl-busts of the #8little masters' 7,fig4 #ia74 ,both the other amphorae of ,amasis are more advanced4 ,the shape of the vase is slimmer1 the decoration simpler1 the relation of figures to space freer4 ,the bodies are no longer the thick-set broad-thighed type of the older style3 the eye plays no longer so prominent a part4 ,the short chiton is not merely laid in black and red layers but even provided with a quite naturally waving border3 the artist thus far surpasses the standard of ,exekias and even of early red-figured masters4 ,he need not on that account be put very late1 for the simple ,ionic masters of the ,caeretan hydriae1 perhaps his countrymen1 made this border before him4 ,this ,ionism is in favour of ,amasis1 who signs only as potter1 having himself painted all his vases1 and having played the pioneer not only in vase shapes and decoration but also in figure style4 ,exekias 7in whose works the unity of the whole is often expressly emphasized by the inscription #8made and painted me'7 does not attack the problem of folds so boldly4 ,even on the two fine necked amphorae1 which praise the favourite of his later period1 as a good ,athenian he lays the drapery in neatly-ironed layers4 ,the slender ,munich necked amphora 7,fig4 #ig7 goes still further beyond the ,chalkidian models 7,fig4 #fi74 ,the neck ornament connects it with the late works of ,exekias1 the eye decoration with the kylix type of the same time1 and even the space-filling vine-tendrils1 which perhaps ,amasis introduced from the #8,phineus' factory into ,attic painting1 are a favourite motive in later times4 ,the satyr mask1 like the ,dionysos mask1 probably passed from cult into decorative painting2 if ,klitias represents ,dionysos1 and ,amasis the satyr1 with head in front view1 the influence of these masks is not to be mistaken4 ,we have not yet named the most productive amphora painter4 ,nikosthenes supplied some fine examples of the method of ,amasis1 some of which like the ,exekias lebes 7,fig4 #ii7 on the body of the vase help the fine black colour to exclusive possession2 besides a quantity of notably metallic amphorae with band handles1 the production of which in quantities seems to be his speciality1 though other masters adopted and modified the shape 7,fig4 #ajd74 ,the often very hasty and conservative decoration of these vases cannot come from one painter4 ,nikosthenes1 of whom almost a hundred signed vases are extant 7kraters1 #8,amasis' and #8,nikosthenes' amphorae1 #8little master' kylikes1 eye kylikes1 neatly painted jugs with white ground1 and red-figured vases7 must have employed a series of painters4 ,the only one who gives his name1 ,epiktetos1 we shall hear of later4 ,the hydria too1 which often shows its use in pretty fountain scenes 7,fig4 #ajf71 alters its form4 ,as in ,chalkis 7p4 #gf7 the egg-shaped type of the ,klitias period1 shown e4g4 on the ,troilos frieze of the ,franois vase1 gradually gives way to the later type with picture field and horizontal1 separately adorned shoulder4 ,timagoras1 a contemporary of ,exekias1 still prefers a broad-bellied shape and does not form handle and foot as elegantly as ,pamphaios4 ,his ,paris vase with the later type of the contest with ,triton 7p4 #fg71 on which he still paints the monster's face red for colour contrast1 is very important for chronology by a declaration of love for ,illustration3 ,,plate ,,lvi4 ,fig4 #ajj4 ,,from ,a ,,late ,,attic ,,black-,,figured ,,hydria4 ,andokides1 a young colleague and later chief master of the early red-figured style4 ,if ,timagoras is the predecessor of ,andokides1 ,pamphaios is his rival4 ,his slim ,london hydria with the slightly bent up handles1 on which the vine of ,dionysos overgrows the whole picture1 and the dark-red striping of the cloak assumes pure fold-character1 falls into the red-figured period1 which after the second third of the century begins to compete with the old technique1 and to which ,pamphaios himself opens his workshop4 ,the new style did not abruptly drive out the old3 from the time of its predominance perhaps more black-figured vases are preserved than from the preceding period4 ,in the leading studios for a time both techniques were practised side by side1 often by the same painters4 ,the balance inclined quickly to the side of the style which painted the background and not the figure1 and after the transitional time of ,andokides and ,pamphaios only inferior talents experiment in the old silhouette style4 ,but though driven out of the leading position1 this old style was still busy and productive at least to the beginning of the #eth century3 especially necked amphorae and hydriae1 which the new style did not zealously affect1 keep the tradition4 ,at this later date the shapes become elongated1 the lotus and palmette ornament loses colour1 sweep and consistency4 ,the hydriae bend their handles more steeply upwards3 the row of palmettes enclosed by tendrils is preferred as framing ornament4 ,the figures move more freely in the space1 and are also more hastily drawn2 in particular the rendering of folds becomes regular4 ,the red stripes1 which are painted quite meaninglessly between the folds1 no longer remind us that they once indicated sewed parts of garments2 white rosettes and red spots serve as surface patterns1 a red stroke as border4 ,on the fine hydria in ,berlin 7,fig4 #ajj7 probably of ,euphronios' time1 which1 it is true1 is quite unlike its class1 the old round formation of the eye actually approximates to the natural oval4 ,the links with the red-figured style1 especially common love names like ,hipparchos1 ,pedieus1 and ,leagros1 help us to date this style4 ,thus the circumscribed row of palmettes seems to appear in the early ,leagros period 7p4 #aad72 the ,berlin vase is thus moved to the end of the century1 like a group of pelikai with charming genre scenes and a series of other vases of red-figured shape 7p4 #aai74 ,in the new century the black-figured production gradually dies away4 ,apart from the ,panathenaic amphorae 7p4 #ii7 and other vases1 which for ritual reasons remain conservative1 only trifling small ware keeps up the old style4 ,the prize vases can be followed as votive offerings on the ,acropolis1 and in exported specimens down into the #dth century1 where they are dated to the year by archons' names 7one of #cac ,b4,c4 has been found72 even in late times they do not give up the old type of ,athena1 but elongate it to agree with the slender proportions of the vase1 and combine other later features with the old picture4 ,in ,boeotia black-figured painting1 alongside of primitive attempts to imitate ,attic red-figured vases1 continued as long in the burlesque parodies of myth of the so-called #8,kabirion' vases2 black painting on a light ground is found in the early ,hellenistic #8,hadra vases' made at ,alexandria1 and similar late phenomena occur in various localities4 ,these late black-figured vases show real progress in nothing but the development of a loose freely moving vegetable ornamentation3 but this progress depended on pure brush-technique1 not on the old incised style4 ,illustration3 ,,plate ,,lvii4 ,fig4 #aja4 ,,attic ,,vase1 ,,late ,,black-,,figured ,,style4 ,fig4 #ajb4 ,,panathenaic ,,amphora4 ,,chapter ,v4 ,,the ,,red-,,figured ,,style ,,in ,,the ,,archaic ,,period ,how the sudden change of technique took place1 how the idea suggested itself1 that instead of painting silhouettes on the ground of the clay1 figures drawn in outline should be left free to contrast with the black background1 is not yet explained4 ,the inversion of the colour system is not new4 ,from ,ionic1 ,corinthian1 ,attic1 and ,boeotian workshops we know of light painting on a dark ground1 and a plate from ,thera has light figures in added paint and a black background4 ,but this is entirely different from the red-figured style1 which uses the ground of the clay for its figures4 ,only late ,klazomenian sarcophagi can be regarded as its earlier stages1 and it is quite possible that the new technique was naturalized in ,athens by ,east ,ionic painters4 ,at any rate the idea fell on fruitful soil4 ,the archaic mixture of colour was long worn out1 the simplification of colour-effect1 by increasing limitation to the two values1 clay and glaze1 was in full swing1 and the effect of big glazed surfaces had been tried in the body-amphorae and in vessels completely covered with black colour 7p4 #ajh74 ,but more than all else the revolution in figure-drawing which was now setting in strong in the great art was striving for expression in vase painting4 ,a successor of the ,athenian ,eumares1 ,kimon of ,kleonai1 according to ,pliny1 invented oblique views and foreshortening1 rescued the body from archaic stiffness1 furnished limbs with joints1 for the first time rendered veins1 and represented folds and swellings of drapery2 he must belong to the last third of the century2 for his predecessor is father of the sculptor ,antenor1 who worked1 it is true1 for the old potter ,nearchos 7p4 #ajc7 but also for the young ,athenian ,republic 7#eaj ,b4,c47 ,though ,pliny1 after the fashion of ancient historians1 is too fond of asserting #8inventions1' this much is clear1 that after ,eumares there was a breach with tradition in ,athenian painting1 and that here1 for the first time in the history of the world1 bonds were once for all burst1 which hitherto had hardly been touched4 ,naturally the vase-painters could not be left behind2 but since the old silhouette incised style was quite unsuited for the new liberties of drawing1 but on the other hand outline drawing on light ground ran counter to the decorative purposes of the vases which used silhouettes1 the idea of inverting the colour-scheme must have been received with enthusiasm among the vase-painters4 ,the new invention unites the enhanced freedom of movement of the draughtsman with a decorative effect which is not inferior to that of the old style4 ,the warm red inner surface of the figures1 which the painter can animate by the brilliant sweeping #8relief lines1' splendidly contrasts with the wonderful black lustre of the ground4 ,the new style too is a silhouette style1 and uses the ornamental effect of the figures4 ,but it contains quite different possibilities1 and of itself moves away from the types of the old style and towards an individual treatment of the figures4 ,the contrast between the black silhouette of the man and the white-filled figure of the woman falls away1 also the circular shape of the man's eye connected with the incised style1 the gay dresses1 and much besides4 ,the red-figured style enters into the characteristic working out of the human body and its parts1 the study of drapery folds and the rendering of movement in a living way4 ,but growing naturalism is in true ,greek fashion contemporaneous with adherence to types2 formul once invented are retained and repeated by different masters1 until new discoveries by bolder spirits outdo them and put them in the shade4 ,in the archaic red-figured style this vigorous struggle between formula and bold observation of nature offers an exciting spectacle4 ,step by step the ground is won from the archaic style1 till after a struggle of about fifty years1 about the time of the ,persian wars1 a free rendering of nature is attained1 which then lays the foundation for the formation of a new and higher series of types1 for the style of ,polygnotos and ,phidias4 ,this period may be regarded as the culminating point of vase-painting altogether1 if emphasis is laid on the intensity of the line1 and on the intimate relation between artist and technique4 ,in it artistic craft had its greatest triumphs and created the most perfect synthesis between ornamental types and delightful naturalism4 ,potters and painters were never again so conscious of their performances as in this period1 never again felt themselves so much as rival individualities4 ,certainly the old black-figured masters1 ,timonidas1 ,klitias1 ,exekias and ,amasis1 cannot be denied personal expression4 ,but the red-figured conquerors of nature1 each of whom in his own way breaks through the old system of type1 produce a far more differentiated effect4 ,it is also a result of the fresh current1 which now enters vase-painting1 that we can more than ever follow the development of these individualities4 ,the signatures1 which are preserved in such number from no other period1 give an insight1 not merely into the manifold production1 but also into the growth of personalities and their struggle for ever new possibilities4 ,among the signatures we must distinguish between potters and painters4 ,we must never assume that the #8maker' is responsible for the adornment of his vases2 it looks rather as if the painters had lived pretty independently and been employed first by one and then by another proprietor of a workshop4 ,what it means1 that now the potter signs1 now the painter1 sometimes both together1 and that many strong personalities do not sign at all1 cannot be made out in the present state of our knowledge4 ,the love-names help to fix the chronology of the vases still more than in the black-figured style4 ,we saw that ,andokides was kalos1 when ,timagoras' workshop was in full swing4 ,when he is a full-blown painter1 the #8,epiktetan' kylikes and an ,oxford plate celebrate the youths ,stesagoras1 ,hipparchos and ,miltiades4 ,if ,miltiades is the victor of ,marathon1 ,stesagoras his brother1 and ,hipparchos the archon of #dif ,b4,c41 their ephebic years and these vases must be fixed about #ebj ,b4,c4 ,memnon's youth must fall about the same time2 for one of the many kylikes with his name1 like a lekythos signed by ,gales1 shows the bard ,anakreon1 who was entertained by the ,pisistratidae1 #ebb-ead ,b4,c4 ,the painters ,phintias and ,euthymides praise the youth ,megakles2 now on a votive pinax from the ,acropolis this name was replaced later by another1 and it is a plausible guess to connect this erasure with the banishment of a ,megakles in #dhf ,b4,c41 who about twenty-five years before might have deserved these praises4 ,the youthful beauty of ,leagros is in the time of the vase-painter ,euphronios1 and anyhow earlier than the destruction of ,miletos1 in which a ,leagros vase was shattered3 the ,leagros who fell in battle as ,strategos #dfe ,b4,c41 must have been an ephebus in the last decade of the #fth century4 ,his son ,glaukon1 who was ,strategos in #ddj ,b4,c41 dates the vases which celebrate him with his father's name a generation later1 so about #dgj ,b4,c4 ,the only established fact from finds does not contradict the #8,leagros' chronology2 in the tumulus of ,illustration3 ,,plate ,,lviii4 ,fig4 #ajc4 ,,athena ,,and ,,herakles3 ,,from ,,an ,,amphora ,,in ,,the ,,style ,,of ,,the ,,andokides ,,painter4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,marathon 7#dij ,b4,c47 the latest offering was a sherd of the kylix type with simple maeander 7c4p4 ,fig4 #aae7 which appears in the later #8,leagros' period4 ,the ,acropolis finds1 which are prior to the ,persian conflagration 7#dhj ,b4,c471 have not yet been sorted and sifted4 ,according to this chronology the red-figured style must have made its entry into ,athens about fifty years before the ,persian ,war1 with which it is customary to close the archaic period of ,greek art1 i4e41 about #ecj ,b4,c4 ,we saw above1 that the workshops of ,pamphaios and ,nikosthenes open their doors to it3 neither master breaks abruptly with the old style1 which often asserts itself together with the new on the same vase4 ,this contrast of the two styles is made clear by no one more obviously than the potter ,andokides on his fine amphorae1 which are directly in line of succession with ,exekias2 never is the essence of both styles so plain as when on such a vase the same subject is treated by the same painter's hand in the old and in the new technique4 ,the unsigned1 but certainly ,andokidean ,munich amphora 7,fig4 #ajc7 is not one of these instances in spite of the similarity of the subject2 its black-figured ,herakles scene is certainly by a different hand from its red-figured1 in which the same delicate and original artist as on most of the signed works 7the #8,andokides' painter7 expresses himself4 ,if this painter is identical with the potter1 ,andokides was not merely in shape and decoration of his vases but also as draughtsman a pupil and successor of ,exekias4 ,he has inherited the feeling for elegant detailed drawing and for richly ornamented garments4 ,in the ,herakles scene we see the same joy in a harmonious picture as in the sea-voyage of ,exekias 7,fig4 #ic7 and the game of draughts 7,fig4 #if71 which he actually copied2 and the same intense absorption in the subject makes all other works of ,andokides charming4 ,in much the drawing reminds us of the teacher1 particularly the flat layers of drapery1 which already resolve the chitons into rich folds and end in the border more naturally1 but do not attain the life-like waving of the late works of ,amasis4 ,the filling of the space with vine branches also is more in accord with the old technique than the new4 ,but the more advanced pupil is shown not merely by the renewed study of the body1 which appears in the drawing of hand and foot1 in pointed elbow and knee1 and in ,herakles' leg shown through the drapery1 but also by the more compact composition and the individual treatment of the heads4 ,the entirely red-figured vases by ,andokides are not necessarily older than the black-figured3 the latest vase signed by him 7in ,madrid7 still combines both techniques4 ,it must have been decorated by a third artist less archaic in feeling1 who also worked for the potter firm of ,menon4 ,the ,menon painter adds to the ,andokidean framing patterns the row of circumscribed palmettes1 though not yet in their final shape1 and approximates in style to the young ,euphronios and his rival ,euthymides4 ,the ornament of the ,madrid vase does not seem to have been devised as border pattern4 ,it must be derived from the tendril-composition1 which on red-figured vases takes the place of the ,amasis ornament 7,fig4 #ih7 and is in great favour as handle-ornament for kylikes4 ,on the fine amphora in ,paris1 which the transitional master ,pamphaios made after the patterns of ,nikosthenes1 and ,oltos probably painted with scenes of hetairai and satyrs 7,fig4 #ajd71 it appears as handle decoration together with an equally novel calyx and leaf ornament1 which adorns the shoulder4 ,the free decorative method of composition1 which can be traced back through ,amasis 7p4 #aje7 and ,klazomenai to the ,fikellura style 7p4 #fa7 is exactly in the manner of the red-figured style1 which not only shakes off the frieze constraint but ,illustration3 ,,plate ,,lix4 ,fig4 #ajd4 ,,hetaira2 ,,satyr ,,and ,,maenad3 ,,amphora ,,with ,,the ,,signature ,,of ,,the ,,potter ,,pamphaios4 ,illustration3 ,fig4 #aje4 ,,the ,,arming ,,of ,,hector3 ,,from ,,an ,,amphora ,,by ,,euthymides4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,illustration3 ,,plate ,,lx4 ,fig4 #ajf4 ,,fountain3 ,,from ,a ,,red-,,figured ,,hydria ,,by ,,hypsis4 even the pictorial field3 on the amphora1 which the same painter executed for the potter ,euxitheos1 he discards the old frame1 which now only separates black from black1 and his example is followed sooner or later by other artists4 ,it is true that the painter ,euthymides1 the contemporary of the young ,euphronios and gifted continuer of ,andokides' body amphorae1 keeps the frame on his vases1 which are now purely red-figured4 ,but he not only helps the later palmette ornament to triumph over the old bands of zig-zags and buds 7,fig4 #aje7 but enhances the unity of effect by beginning to leave the ornament in the colour of the clay and to shape it in red-figured manner1 as was the case straight away with the handle decoration 7,fig4 #ajd74 ,almost as a rule he puts in his field three standing figures of large dimensions1 in which he demonstrates to the eye his progress in observation of nature4 ,under the garments bodies begin to move1 and their anatomy male and female is studied by the artists of this period with tireless zeal4 ,the fruits of this study appear on the ,munich ,priam vase 7,fig4 #aje71 in the drawing of hands1 in the differentiated pose of the legs1 in the bold front view of the foot1 still more on the reverse in the bendings and turnings of three naked drunken men with full indication of muscles4 ,certainly the limitations of his eye for perspective appear1 when the further from sight of the two chest muscles comes under the nearer one1 when the woman's breast is turned outwards1 when the transition of the breast seen in front view to the legs in profile is not made clear1 and the head of the man walking to the right and looking round in archaic fashion is still turned in profile to the left2 the artist1 it is true1 breaks through the old scheme of the figure in one place1 but his avoidance of lines shewing depth is so strong that he prefers to put those parts of the body1 of whose front and back he is conscious1 simply one beside the other4 ,but it is just the contrast between the bold attempt at progress on the painter's part and the perspective constraint1 the feeling of conflict2 if you like1 that gives their charm to the vase-paintings of this period4 ,though the bodies are no longer as previously packed into the garments1 and drapery is rather subordinate to the treatment of the body1 studies in drapery also have been very fruitful4 ,the contrast between the heavy woollen himation1 and the more delicate crinkles of the linen chiton is plainly marked4 ,the depths of the folds in the cloak1 according as they are close together or more freely distributed1 are given in gradation by thicker or thinner lines of colour2 the chiton folds join in separate masses and run out in the expressive so-called swallow-tail borders1 which divide the outline of the drapery much more rhythmically than the layered borders of the #8,andokides' painter4 ,chalkidian painters had already rendered scenes of arming4 ,but those of ,euthymides mark a great psychological advance4 ,the paternal anxiety of the bald-pated old man and the nervousness of the mother's pet making his first dbut are finely expressed4 ,the feeling for everyday life1 in an age which suddenly recognized in common things a world of artistic problems1 was keener than ever4 ,what cared ,euthymides about his subject 8,hector's departure08 ,he drew a scene from his neighbour's door and added heroic names4 ,his best work the master left unsigned1 the ,munich amphora1 on which ,theseus under protest from ,helen 7note the thumb7 with gay impudence carries off ,korone 7,fig4 #ajg74 ,the head of the ravisher1 which gets its increased liveliness not merely from the shifting of the pupil from the centre inwards1 may serve as example of the newly-conquered possibilities of expression1 and the extract from the picture may give an idea of the charm of archaic art4 ,illustration3 ,,plate ,,lxi4 ,fig4 #ajg4 ,,the ,,rape ,,of ,,korone ,,by ,,theseus2 ,,from ,,an ,,amphora ,,by ,,euthymides4 ,fig4 #ajh4 ,,drunken ,,satyr3 ,,from ,,an ,,archaic ,,red-,,figured ,,kylix4 ,illustration3 ,,plate ,,lxii4 ,fig4 #aji4 ,,rhyton ,,with ,,red-,,figured ,,decoration ,,on ,,the ,,neck4 ,the ,bonn hydria of ,euthymides with the praise of ,megakles shows a quite new type of vase2 in contrast to the offset black-figured shape1 it unites neck and body in an elegant curve1 so that the old-fashioned division of the decoration into two or three parts disappears4 ,the same fair youth is praised by his gifted colleague ,phintias1 whom we see from his beginnings in the workshop of ,deiniades expanding more and more brilliantly1 on a ,london hydria of the old shape2 but the gracefully moving boys1 who in the picture while drawing water are addressed by an older man1 already carry water-pots of both types in their hands1 and ,phintias himself occasionally adopted the later shape2 as does the painter ,hypsis with the pretty well-house scene 7,fig4 #ajf71 on which again both vase-shapes are represented2 for the girl1 who is just putting the cushion on her head1 has placed a pitcher of the old type under the lion's head spout from which the water is pouring1 while her companion is lifting a hydria of the new shape already well-filled from the satyr's mouth4 ,the intensive study of the female form is seen in ,oltos' picture of a hetaira 7,fig4 #ajd7 and in many other vase-paintings of the period1 and even when they represent girls clothed1 the painters are unwilling to sacrifice their newly-won knowledge to external probability1 and even under the drapery help the charm of the body outline to assert itself1 as ,hypsis does on his well-scene 7,fig4 #ajf74 ,like the ,bonn hydria1 the works of ,euthymides witness to the emergence of new vase-types1 the ,turin psykter and the unsigned ,vienna pelike4 ,an idea may be obtained of the psykter 7which is regarded as a cooling vessel7 by the later example in ,rome 7,fig4 #ajd7 in which the narrower cylindrical lower part is however missing4 ,the pelike is a kind of small wineskin-shaped amphora4 ,even the transitional artist ,pamphaios gave ,oltos a stamnos 7cp4 ,fig4 #adf7 to paint1 and the early red-figured artist ,smikros painted one4 ,the calyx-krater1 a kind of enlarged cup with low-set handles1 seems to appear in the ,leagros period 7,fig4 #aac74 ,the remarkable vases in the shape of a head 7,figs4 #aja1 #aji7 in a smaller form served for the reception of unguents and oil even in ,protocorinthian and early ,ionic styles1 but seem only at this time to become popular as bumpers in the service of the drinker1 and the pretty heads of negroes and girls with the love-names ,epilykos and ,leagros form the beginning of the development1 which culminates in ,sotades 7p4 #adb74 ,the other drinking vessels1 the kantharos1 which is brandished by ,duris' satyrs 7,fig4 #abb71 the skyphos1 from which ,euphronios' hetairai are drinking 7,fig4 #aab7 are only continuations and refinements of old shapes 7,figs4 #hh1 #dc74 ,the favourite drinking utensil is naturally the kylix1 which even for the 8little master0 period in fabrication and exportation is at the head of the vases1 and now not only receives its finest finish1 but also through the abundance of specimens preserved and the richness of inscriptions renders the most valuable service to the historian4 ,on the ,andokides amphora 7,fig4 #ajc71 the psykters of ,euphronios 7,fig4 #aab71 and ,duris 7,fig4 #abb71 the shape with offset rim appears4 ,this late specimen of the old type must have been more popular than the extant painted examples lead one to suppose1 but was certainly far less usual than the shape with a single curve1 which the red-figured style took over with the eye kylikes and in the most delicate way simplified and animated4 ,the history of these kylikes1 like that of the big-bellied amphorae1 begins with examples of mixed technique4 ,andokides actually extended his principle of the black-figured and red-figured halves of the vase to kylikes3 but happily this procedure was extremely rare4 ,in the early ,illustration3 ,,plate ,,lxiii4 ,fig4 #aaj4 ,,drunken ,,lyre-,,player3 ,,from ,a ,,kylix ,,by ,,skythes4 ,illustration3 ,,plate ,,lxiv4 ,fig4 #aaa4 ,,flute-,,player ,,and ,,dancing ,,girl3 ,,from ,a ,,kylix ,,by ,,epiktetos4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 kylikes the mixture of technique is rather to be found in the fact1 that in the interior the black-figured picture1 which with its circle in the colour of the clay contrasted so decoratively with the black-covered edge1 was still retained1 while outside between the eyes1 and gradually also in their place1 figures were inserted in the colour of the ground4 ,this procedure is e4g4 connected with the names of the potters ,nikosthenes1 ,pamphaios1 ,hischylos and ,chelis1 and with the painters' names ,epiktetos and ,psiax1 and with the love-name ,memnon4 ,when ,skythes paints the outside in black-figured technique and the inside in red-figured of a kylix 7unsigned7 dedicated to ,epilykos1 this is1 like the procedure of ,andokides1 an exception1 and a conscious divergence from the traditional relation4 ,the transition to purely red-figured technique compels the artists to separate the interior from the black surroundings4 ,up to the ,leagros period this separation is effected by a narrow ring in the ground of the clay1 which they leave uncovered by black paint3 on the kylikes the eye-decoration is gradually dropped4 ,if one takes the signatures of the masters of this group together with those of the transitional kylikes and the contemporary big vases1 the number of the painters' names comes to about a dozen1 while the potters are far more numerous2 and thus in view of the mere accident of preservation and the anonymity of other palpable artistic personalities one can form an idea of the vigorous life1 which then reigned in the ,kerameikos1 the quarter of ,athens where the potters lived4 ,it is interesting to follow the process by which the early red-figured kylikes from very decorative beginnings rise to even greater freedom and objectivity4 ,even the insertion of the figure between the eyes1 which comes from the ,ionic #8,phineus' fabric1 is meaningless and a mere decorative scheme2 and also1 when he gives up the decoration with eyes1 the painter likes to put one or three figures as central motive between the broad ornaments of the handles4 ,even the exterior pictures with numerous figures1 which occur in the late period of the potter ,pamphaios and in the full activity of the painter ,oltos1 are by no means free from decorative schematism2 arrangement in a row and heraldry still play a part1 and occasionally1 as in the #8little master' style1 winged horses or sirens take the centre of the representation4 ,even the old ,ionic scheme of the horse-holding runner revives on a kylix of this group4 ,the interior too at first is still under strong decorative constraint4 ,quite in contrast to the early ,attic kylikes of the ,klitias period and to the ,spartan1 which often take no regard to the space in the representation1 the figure always adapts itself to the circular form1 extends its masses to fit the space1 often presses head and feet against the edge1 and gives the interior a decorative and very animated appearance1 to some extent comparable to a rotating wheel4 ,one imagines the painters had studied and sketched the bending1 crouching1 running1 twisting1 and turning of handsome youths often only to get motives for their interior scenes4 ,skythes1 the master of fine black-figured votive tablets on the ,acropolis1 who liked to dedicate his kylikes to his young colleague the painter ,epilykos1 in the interior of the kylix at ,rome 7,fig4 #aaj7 goes beyond this stage1 and fills the space more loosely with the lyre held at right angles and the freely arranged knotted stick of his singing boy2 and ,epiktetos1 who painted his wonderfully subtle figures in a long working life for various potters1 ,nikosthenes1 ,hischylos1 ,pamphaios1 ,python and ,pistoxenos1 in the late ,python kylix in ,london 7,fig4 #aaa71 under the influence of later masters1 goes over to the two figure picture4 ,one can see from their bodies that they are prior to the time of ,euphronios and ,euthymides4 ,in his ,illustration3 ,,plate ,,lxv4 ,fig4 #aab4 ,,hetairai3 ,,from ,a ,,psykter ,,by ,,euphronios4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,illustration3 ,,plate ,,lxvi4 ,fig4 #aac4 ,,herakles ,,and ,,antaios3 ,,from ,a ,,kalyx-,,krater ,,by ,,euphronios4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 vigorous lyre-player1 whom we may identify with his favourite ,epilykos1 ,skythes does almost too much in the rendering of the chest-muscles and makes the abdominal muscles seen in front view1 and rendered in thinned varnish1 press against them in an impossible way2 ,epiktetos1 who is for a while disinclined for interior drawing1 turns the breasts of his dancing women outwards1 and in their space-filling movement reminds of old types4 ,but the master of a ,munich eye kylix has side-views of shields1 and draws a kneeling leg in back view1 so that the sole is visible and the calf almost disappears4 ,back views of the human body are given also in kylikes from the workshop of ,kachrylion1 which takes us over into the ,leagros period just like the works of ,phintias and ,oltos1 whom we already know4 ,for ,phintias soon outdoes the theft of the tripod of his early ,deiniades kylix on a fine amphora at ,corneto1 and ,oltos1 the painter of the ,pamphaios amphora and most of the ,memnon kylikes1 passes from the praise of ,memnon to that of ,leagros on the fine kylikes from ,euxitheos' workshop4 ,the ,leagros period might be described as the culminating point of the dramatic tension prevailing in the older red-figured style4 ,in it ,phintias breaks the archaic fetters of his youth1 ,euthymides creates his decisive works1 and we see the development of the great master ,euphronios1 whom ,euthymides boasts to have beaten on the ,priam amphora 7,fig4 #aje74 ,all the three vases1 which bear the signature of ,euphronios as painter1 praise the fair ,leagros1 i4e4 the ,munich ,geryon kylix1 which appeared in ,kachrylion's workshop1 which1 like the ,leagros kylikes of ,oltos1 has under the exterior scenes a band of circumscribed palmettes in the colour of the ground1 the ,petrograd psykter with the hetairai 7,fig4 #aab7 and the ,paris calyx-krater with ,herakles and ,antaios 7,fig4 #aac74 ,the harmonious indoors scene of the psykter in its quite neat and sure drawing of the nude sets the finishing touch to the studies of ,epiktetos 7,fig4 #aaa71 ,oltos 7,fig4 #ajd71 and their contemporaries1 and does the subject more justice than many pictures more advanced in perspective4 ,the leg of the thirsty ,palaisto disappearing in the background recurs in the ,antaios scene1 where the painter fully exhibits his anatomical knowledge1 and shows as little regard for the concealing skin as other painters do for female drapery2 the inner drawing is not even as usual put on in thinner colour4 ,the composition of the scene is not very flexible4 ,the struggle of the muscular but quite civilized ,herakles with the rugged giant 7whose right hand is a masterpiece of drawing7 is the true theme1 while the horrified women1 who are almost old-fashioned in their drawing1 serve like club1 quiver and lion's skin1 only as filling for the triangular wrestling scheme1 which was probably borrowed4 ,a band of palmettes1 and another of palmette and lotus in the red-figured style1 vigorously frame the bold picture4 ,the reverse of the ,antaios krater shows the artist well on the way to represent correctly the course of the abdominal muscles from the chest to the pudenda1 and thus to give a convincing expression to the old distortion of the body4 ,unfortunately we cannot further follow ,euphronios on this path in the light of signed vases1 for the ten kylikes with his name1 which fill the gap between the youth of ,leagros and that of his son ,glaukon1 were only signed by him as potter and some of them were demonstrably handed over to others to paint4 ,that a progressive artist like ,euphronios in this whole period never again took brush in hand1 is more than improbable1 and among the unsigned vases of the succeeding period his more mature works must be represented4 ,the kylix made in the workshop of ,sosias 7,fig4 #aad7 has been variously ascribed to ,euphronios and to the painter ,illustration3 ,,plate ,,lxvii4 ,fig4 #aad4 ,,achilles ,,and ,,patroklos3 ,,from ,a ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,sosias4 ,illustration3 ,,plate ,,lxviii4 ,fig4 #aae4 ,,boy ,,chasing ,a ,,hare3 ,,red-,,figured ,,kylix4 ,peithinos3 the remarkable work of art must rather belong to an unknown third person 7the #8,sosias' painter74 ,the composition filling the space suggests the old style1 especially the pressing of the foot against the rim3 but the boldly fore-shortened right leg of ,patroklos with the foot viewed from above1 known also to ,euthymides and to ,phintias in his maturity1 the full development of the bunches of drapery and the swallow-tail edges1 and above all the extremely bold attempt to open the corner of the eye1 lead us into the critical phase of the archaic red-figured painting1 the ,leagros period4 ,only an intense study of the model could lead this master so far from the beaten track2 that with the added names of ,achilles and ,patroklos he came into conflict with the ,iliad1 mattered little to him4 ,furthermore on the ,sosias vase a technical innovation comes seriously into play1 which is gradually adopted by ,euphronios 7,fig4 #aab71 ,euthymides 7,fig4 #ajg71 ,phintias and ,hypsis 7,fig4 #ajf72 the outline of the hair is no longer separated from the black ground by the old hard incised line1 but by a narrow line of the colour of the ground4 ,within the kylikes1 which praise the fair ,leagros1 a change takes place in the framing of the interior picture2 in place of the ring in the colour of the clay1 of which occasionally they attempt to increase the effect by doubling1 comes the maeander in different varieties1 first simple and continuous 7,frontispiece and ,figs4 #ajh1 #aae1 #abf71 then ever more frequently in broken up shape 7,fig4 #aaf74 ,the new frame comes e4g4 on the ,london kylix1 which by the hare-hunt gives such a natural motive for the space-filling movements of the running ,leagros 7,fig4 #aae74 ,the ,leagros of the kylix agrees so exactly with that of the ,antaios krater1 that one may ascribe this advance to ,euphronios2 for the line of the ground giving the hair outline and the organic connection of chest and belly are beyond the stage of the krater in question4 ,a further step forward on the part of the same master may probably be seen in the ,boston kylix1 which praises both ,leagros and ,athenodotos 7,fig4 #ajh74 ,never perhaps was the inmost nature of the satyr so fully caught as in this fine example3 he is squatting on the emptied pointed amphora and positively breathing out an aroma of wine and wantonness4 ,his lifelike picture goes far beyond the ,antaios krater1 and a closely connected ,athenodotos kylix in ,athens actually carries this vivacity into the same subject1 the wrestle of ,herakles and ,antaios4 ,if ,euphronios thus surpassed himself one may believe him also responsible for the next step1 the #8,panaitios' stage1 to which it is a very short distance from the ,athenodotos kylikes4 ,to the transition1 that is about the end of the #fth century1 belongs the ,paris ,theseus kylix1 signed by ,euphronios as potter but without love-name4 ,the boldly drawn exterior seems to form the bridge to the style of the #8,panaitios' master1 that vigorous painter1 perhaps identical with the later ,euphronios1 from whose hand comes the ,london ,panaitios kylix with the signature of ,euphronios as potter4 ,the rich and ornamental interior 7,frontispiece7 is in a certain contrast with the exterior scenes1 and is so closely connected with the early works of ,duris1 that we may enquire1 whether ,euphronios did not entrust the decoration of the interior to a talented pupil with a great tendency to elaboration4 ,but perhaps this contrast is due only to the representative seriousness of the subject4 ,young ,theseus1 in order to receive his rightful position as son of ,poseidon1 has gone down to the bottom of the sea1 and in the presence of ,athena is greeted by ,amphitrite4 ,the time of ,panaitios and that of ,chairestratos1 which partly coincides with it1 remove many hard features of the ,leagros stage4 ,the turnings of bodies lose all violence3 in the frontal stand of both feet1 and in the oblique view of ,illustration3 ,,plate ,,lxix4 ,fig4 #aaf4 ,,after ,,the ,,banquet3 ,,from ,a ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,brygos4 ,illustration3 ,,plate ,,lxx4 ,fig4 #aag4 ,a ,,maenad ,,in ,,frenzy3 ,,from ,,an ,,archaic ,,red-,,figured ,,pointed ,,amphora4 the head1 new possibilities are indicated4 ,the pupil is now always in the inner corner of the eye1 though the bold experiment of the #8,sosias' painter is not generally adopted4 ,above all a new current enters the drapery4 ,the divisions of the chiton with patterns of folds gives way to a more natural and uniform distribution3 the play of folds at the edges of the cloaks is generally emphasized by a thick pair of lines4 ,these tendencies become complete in the later ,chairestratos and the ,hippodamas period1 with which we get down to about #dhj ,b4,c4 ,the masters of this later date deal now quite freely and easily with the achievements of their predecessors3 the old rude vigour gives way to ornamental elegance or swinging liveliness4 ,the relation of figures to space also alters3 the forms move more freely1 are less confined by space1 and are surrounded with air4 ,thus the free decoration of the ,oltos amphora 7,fig4 #ajd7 asserts itself once more4 ,the small so-called #8,nolan' necked amphorae1 and the popular amphorae of ,panathenaic shape1 only reserve one figure or group in the black surface4 ,the fine and elegant effect of this #8,nolan' decoration often attacks other types of vases1 to which is now added the bell-krater 7cp4 ,fig4 #abc centre74 ,of these later masters1 the one who keeps most the massiveness and dignity of the older style is the #8,kleophrades' painter1 who grew up in the ,leagros period and has furnished one of his works with the potter's signature of ,kleophrades1 son of ,amasis4 ,as an example of his style let us take the ,munich pointed amphora belonging about to the ,panaitios period3 the passionate frenzy of frantic ,maenads has never been more perfectly caught than in the back-tossed head of the rushing waver of the thyrsos 7,fig4 #aag74 ,the #8,kleophrades' painter was a pupil of ,euthymides3 but for a number of his contemporaries it can be shown that they won their spurs in the celebrated studio of ,euphronios4 ,it is true that we only have evidence in an inscription of activity in the service of ,euphronios for one painter denoted by name1 and malicious accident has deprived us of all but the last four letters of his name4 ,onesimos1 as his name is usually restored1 combines in simple composition on his kylix riders and boys leading horses1 and thus is the predecessor of the #8,horse' master4 ,on the other hand the master of the ,troilos kylix in ,perugia1 which ,euphronios also signed as potter 7the #8,perugia' master7 inherited more of the fire and dramatic vigour of the #8,panaitios' master4 ,his ,munich ,centaur kylix is worthy of the great teacher1 and the interior 7,fig4 #abf7 is equally perfect as filling the space and as rendering animated life4 ,the shield in profile view1 which shows indication of shading1 the ,centaur's head1 and especially the grandiose foreshortening of the horse-body1 point beyond the ,panaitios period4 ,to this group must have belonged the #8,brygos' painter1 who in earlier works1 e4g41 in the clearly and vigorously composed ,iliupersis in ,paris 7,figs4 #aah and #aai71 is still strongly inspired by the achievements of the ,perugia master1 and later develops the fiery vigour of his youthful period in ever more delicate and elegant shapes4 ,he is fond of shaded shields1 hairy bodies and cloaks adorned with spots4 ,perhaps the finest work of his maturity is the interior of the ,wrzburg kylix 7,fig4 #aaf71 on which a young ,athenian1 supported by the hands of a girl1 relieves himself of the wine he has imbibed too freely4 ,the picture not only in its free adaptation to space and in the sure hand with which the movement of body and drapery is rendered1 but especially in the fine animation of the expression1 is a worthy last note of archaic art4 ,the unsigned ,vienna skyphos of the ,brygos painter 7,fig4 #abj7 must be placed between the ,paris and ,wrzburg kylikes4 ,it also gives a ,illustration3 ,,plate ,,lxxi4 ,figs4 #aah #aai4 ,,the ,,sack ,,of ,,troy3 ,,from ,a ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,brygos4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,illustration3 ,,plate ,,lxxii4 ,fig4 #abj4 ,,skyphos ,,with ,,the ,,ransoming ,,of ,,hector4 ,fig4 #aba4 ,,theseus ,,deserts ,,the ,,sleeping ,,ariadne 7873 ,,from ,,the ,,exterior ,,of ,a ,,kylix4 fine picture full of life3 ,achilles has placed under the table the dead body of ,hector1 which he daily drags round the walls of ,troy1 is reclining at his meal1 and talking to his charming cup-bearer1 as if he did not hear the appeal of the old ,priam for his son's corpse and did not see the presents brought in by the attendants4 ,the clear dramatic disposition is as much in the manner of the master as the free pose of the cup-bearer with weight on one leg1 and the delicate psychological animation of the countenances4 ,the kylix in ,corneto 7,fig4 #aba71 the outside of which has been interpreted as the secret departure of ,theseus from the sleeping ,ariadne1 is at least closely related to the works of the #8,brygos' painter4 ,in the workshop of ,euphronios the youthful ,duris must also have been a pupil4 ,for his earliest work1 the ,vienna kylix1 with an arming scene1 painted for the potter ,python1 is quite under the influence of the ,panaitios master1 and can only be recognized as the work of a painter of another tendency by the greater elegance and slimness of the figures1 and the more schematic composition4 ,in the kylikes with the names of ,panaitios and ,chairestratos1 it can still be traced to some extent1 how out of the docile imitator of the ,panaitios master comes the real ,duris1 the routine draughtsman1 who puts down his elegant figures with almost academic objectivity and who cares more for the uniform decorative effect of his neat silhouettes than for complicated compositions of life4 ,the pair of ,berlin kylikes1 perhaps made by ,kleophrades1 and the kantharos1 on which ,duris signs as potter and painter1 show as plainly as possible this gradual realization of independence1 and also pass more and more1 though not finally1 from the artificial fold packets of the chiton to a uniform system of wavy lines4 ,how entirely ,duris altered his style even during the ,chairestratos period1 is shown e4g4 by the ,vienna kylix1 painted for ,python with the contest for the ,arms of ,achilles1 which not merely in its more elegant shape1 but also in drawing and the relation of the figures to the space1 is widely distant from the arming scene on a kylix of the same workshop4 ,the fine ,eos kylix in the ,louvre1 which ,duris painted for the potter ,kalliades and dedicated to ,hermogenes1 the ,london ,theseus kylix1 and probably also the fine ,london psykter with the love-name ,aristagoras 7,fig4 #abb7 belong to this period4 ,the satyrs of this psykter1 who instead of joining in procession play all kinds of unprofitable tricks behind the back of the leader of the chorus1 need only be compared with their fellows on the ,boston kylix1 and one can recognize at once the routine hand and slighter artistic endowment of the master1 but also the more elegant and easy draughtsmanship of the later time4 ,in the later period of the artist 7about #dhj ,b4,c47 we must put along with their congeners the kylikes with the love-name ,hippodamas1 the finest of which is the ,berlin school vase 7,fig4 #abd74 ,in the drapery of the teachers and pupils1 who are here assembled in the class-room1 nothing of archaic stiffness remains4 ,if even the ,leagros period had made the cloak folds come to a natural end1 they now bend round their ends and pave the way for the 8drapery eyes10 which in the next period so naturally characterize the packings in the material4 ,the great development1 which is evidenced for ,duris by his many signatures1 suggests considerations4 ,we ask whether other masters too did not fundamentally change1 and whether e4g4 ,euphronios did not develop out of the #8,leagros' stage to that of the #8,panaitios' master and the ,perugia painter1 and on his later works include the painter's signature in that of the potter's firm1 i4e4 whether works like the ,munich ,centauromachy 7,fig4 #abf7 do not represent a late phase of this gifted painter1 who can be proved to have lived into the #8,glaukon' period4 ,illustration3 ,,plate ,,lxxiii4 ,fig4 #abb4 ,,hermes ,,and ,,satyrs3 ,,from ,a ,,psykter ,,by ,,duris4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,illustration3 ,,plate ,,lxxiv4 ,fig4 #abc4 ,,drunken ,,maenads3 ,,from ,a ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,hieron4 ,of the other painters of this period1 we must content ourselves with naming three1 the ,berlin master1 ,makron1 and the ,bronze-,foundry master4 ,the #8master of the ,berlin amphora' even surpasses ,duris in elegance1 and is fond of introducing his slim elastic figures in #8,nolan' style1 i4e4 isolated on a dark background4 ,makron1 who painted almost all the vases on which ,hieron's signature as potter is found1 studied by choice in the ,palaestra1 where boys performed gymnastics and were addressed by older men4 ,a ,berlin kylix 7,fig4 #abc71 like several works of his hand1 introduces us to ,bacchic revelry1 an excited chorus of drunken and vigorously gesticulating maenads1 whose bodies are not concealed by the rustling pomp of folds3 the #8kolpos' or fold of the chiton drawn up through the belt1 which ,brygos also is fond of1 is more transparent than the upper and lower parts of the complicated garment4 ,these figures in which all is life1 movement and expression1 should be compared with those of the ,andokides painter or even those of ,euphronios1 in order to realize1 how in these few decades the liberation from archaic stiffness and adherence to type was almost tempestuously accomplished4 ,we take leave of the archaic styles with the charming picture of an anonymous painter1 the #8master of the bronze foundry1' who on a ,berlin kylix 7,fig4 #abe7 transplants us into the interior of the workshop of a sculptor in bronze4 ,a workman is poking the oven1 another is handling the bellows1 the assistant looks on1 the master is working at a statue1 not yet fully put together3 so intimate is the contact with life in this scene4 ,everything interested the vase-painters of this time equally2 they have spread out before us human life1 got their material from every quarter1 and wherever they laid hold of it1 it was interesting4 ,how closely they came to grips with their subject1 how they tried to be clear1 and to give a lively picture of what they saw1 and how under their hands the object at once changed into the artistic type1 the human body into the clearly defined study of the nude1 the garment into a thing of decorative life1 and an assemblage of human beings into an ornamental figure composition6 ,illustration3 ,,plate ,,lxxv4 ,fig4 #abd4 ,,school-,,scene3 ,,from ,a ,,kylix ,,by ,,duris4 ,fig4 #abe4 ,,bronze-,,foundry3 ,,from ,a ,,kylix ,,with ,,the 8,,love-,,name0 ,,of ,,diogenes4 ,illustration3 ,,plate ,,lxxvi ,fig4 #abf4 ,,centauromacy3 ,,from ,a ,,red-,,figured ,,kylix4 ,,chapter ,,vi4 ,,the ,,style ,,of ,,polygnotos ,,and ,,pheidias ,in the studio of ,euphronios the so-called #8,horse master' painted a kylix now in ,berlin with the praise of the fair ,glaukon4 ,the outside is decorated in the usual red-figured technique with lively scenes of riders and stables1 the inside 7a youth and a girl7 is rendered in outline1 with coloured interior lines and surfaces1 on the ground covered with a white slip4 ,the progress in the rendering of bodies and drapery is unmistakeable2 the oblique view of the female breast is almost correctly caught1 the material of the cloaks is packed in lost folds with bent-round end4 ,but even the whole conception of the figures goes far beyond the archaic art of the pre-,persian time3 the proportions and faces have a touch of greatness1 beside which all preceding art seems narrow and embarrassed4 ,the simplification of the profile and the severe long lower part of the face essentially determine one's impression of the heads4 ,a new period is announcing itself3 a time of progressive naturalism and at the same time a period of noble greatness of style and exalted types4 ,the statements of the ancients as to the great painting of this age1 of ,polygnotos and his company1 lay stress on these qualities2 not only the progress1 which relieves the rendering of body and garment of the old stiffness1 but the great ,ethos of these paintings is praised4 ,so with good reason we call the vase painting of the post-,persian generation ,polygnotan1 even if at the beginning of this epoch the influence of the great art is not felt so much as at its culmination4 ,the name of ,glaukon1 which we have met with on the ,euphronios kylix of ,berlin1 recurs on a series of vases1 almost always in the two-line arrangement1 which comes now into vogue1 and often in combination with his father ,leagros' name4 ,lekythoi1 or slender oil-flasks1 which now become the regular offering for graves1 and when so employed invariably use the white-ground technique of the ,berlin kylix1 afford several examples of this favourite's name1 which has become the hinge of vase-chronology4 ,on a ,bonn fragment 7,fig4 #abh71 which in the older style has a domestic scene1 not one taken from the cemetery1 and paints the flesh in white1 a woman is sitting in an arm-chair and putting on a golden necklace1 which the handmaid in front of her has offered in a box4 ,the face of this woman signifies a new world3 the archaic types are discarded1 the old traditions replaced by a quite individual almost portrait-like conception4 ,the eye1 which has hardly any traces of the old full-view and puts the pupil entirely into the open inner corner1 gives the face a very natural and living effect1 it is really looking3 and the hair hanging out from the cap in confusion1 the profile not dominated by any canon of beauty1 and the drawing of the hands1 show the painter penetrated by the same effort after truth4 ,it is perhaps an idle question1 what period inaugurates the history of ,greek portraiture1 since each innovation taken from the model individualizes the traditional type2 but it is just the vase-paintings of the post-,persian1 ,kimonian age1 which went further than the later ones in thus individualizing4 ,the woman of the ,glaukon lekythos1 the old woman on a skyphos in ,schwerin from the workshop of ,pistoxenos 7,fig4 #abg7 and on a loutrophoros in ,athens1 the head of a warrior from a krater in ,new ,york 7,fig4 #acj7 may be taken as symptoms of a very personal portraiture in the age of ,kimon4 ,the effort to get rid of the traditional ideal types led a series of these ,illustration3 ,,plate ,,lxxvii4 ,fig4 #abg4 ,,old ,,woman3 ,,from ,a ,,skyphos ,,with ,,the ,,signature ,,of ,,the ,,potter ,,pistoxenos4 ,fig4 #abh4 ,,detail ,,of ,a ,,fragmentary ,,white-,,ground ,,lekythos4 ,illustration3 ,,plate ,,lxxviii4 ,fig4 #abi4 ,,aphrodite ,,on ,a ,,goose3 ,,from ,a ,,kylix ,,with ,,white-,,ground ,,interior4 ,,bearing ,,the 8,,love-,,name0 ,,of ,,glaukon4 ,fig4 #acj4 ,,warrior3 ,,from ,a ,,red-,,figured ,,krater4 masters to recast even the divine figures with a strikingly individual1 coarse and almost common effect4 ,the master of the ,boston #8,eos' kylix1 a successor of ,makron in ,hieron's studio1 makes his undistinguished goddess of the morning be carried off by a spindly street-lad2 the ,demeter1 who on a ,munich hydria attends the departure of ,triptolemos1 betrays little of the sacred beauty of the motherly goddess2 and other vase-paintings have almost the effect of conscious caricatures of ideal types4 ,the new possibilities of #8,physiognomy' in differentiating character by the facial type1 however1 brought the expression of divine nature to its fullest expansion1 and helped not merely to make men more human but also gods more divine4 ,a ,london white-ground kylix from ,rhodes 7,fig4 #abi7 is connected with the ,bonn lekythos and the ,berlin kylix of ,euphronios by the common name of ,glaukon4 ,the goddess of love1 riding through the air on her sacred bird1 the goose1 is of more than earthly beauty3 her hands1 not only the one with the flower but the unoccupied left hand1 speak the same expressive language as her face and whole form4 ,the effect of this picture is comparable to that of a song4 ,now for the first time the inner kinship of the art of words with that of pictures presses itself on the observer of works of art4 ,no one will think of comparing the ,geometric style with the ,homeric ,epic in value of expression1 or the ornamental style of the #gth century with contemporary ,lyric poetry1 though one may see a reflection of ,anacreontic and ballad feeling in the art of the later #fth century4 ,but the weight of the ,aeschylean pathos is as little to be mistaken in works of graphic and plastic art as the ,sophoclean glow and pure beauty of line4 ,the more delicate animation1 which this period could bestow on its forms1 of itself pointed away from archaic loquacity and pleasure in narration4 ,the genre scene is certainly as old as the historical1 and we have seen that there was no difference of principle4 ,the nearer the red-figured style came1 the more representations of feeling were combined with representations of action1 and towards the end of the archaic style they are no longer rarities4 ,with the new liberation of the style1 especially with the enlivening of the eye1 a different sort of inward feeling asserts itself4 ,figures devoid of action1 occupied with themselves or contemplating another figure1 are themes which the painters of lekythoi in particular were never tired of inventing2 and in later times1 when the cemetery scenes replaced the domestic ones on these vases1 and the privacy of the indoor scenes was transferred to the visit to the grave1 the harmony of soul between the visitor and the dead1 whose living likeness fancy could not separate from the grave1 often found an unspeakably intimate expression 7p4 #ade74 ,the quantity of pictures of #8pure existence' does much to determine the altered aspect presented by post-,persian vase-painting4 ,on the slim #8,nolan' amphorae and those with twisted handles1 on the calyx-kraters and the bell-kraters often decorated on the mouth with a branch1 on the #8stamnoi' and other vases1 which are decorated like the #8,nolan1' the slender restful figures heighten the impression of quiet elegance4 ,thus the grandeur of the new style at the same time gets a marked decorative value1 a value not without danger for the living rendering of reality4 ,greatness is not every man's affair1 and the painters1 who only took over externally the big forms and the lofty simplicity1 and could not fill them with a life of their own1 can only rank as decorative artists and should by the same right be called #8affected' as the refined masters of the ,amasis period 7p4 #ajf74 ,even talented painters consciously gave up to decorative effect the reverses of their vases1 which they adorn with quickly drawn motionless figures wrapped in cloaks4 ,illustration3 ,,plate ,,lxxix4 ,fig4 #aca4 ,,the ,,death ,,of ,,aktaion3 ,,from ,a ,,red-,,figured ,,krater4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,the three ,glaukon representations we have met with till now are pure pictures of #8existence4' ,the #8horse' master dedicated to the same boy ,glaukon a second kylix1 the fragments of which1 found on the ,acropolis1 represent the death of ,orpheus at the hands of the ,thracian women4 ,the scheme1 if one may speak of such1 is in so far old1 as the victor moving to the right attacks an opponent in kneeling position also moving to the right and looking round2 but an infinite nobility is poured over the old type1 and the fight is carried through with dramatic weight1 though in the faces of the fighters the inward excitement is not reflected1 as on later works of the same hand4 ,yet1 as on the ,aphrodite kylix 7,fig4 #abi7 the living expression of the eye is already strengthened by the line of the upper lid4 ,in place of the very fragmentary ,orpheus kylix1 the fight in a contemporary picture may show the progress1 which scenes of dramatic movement attain in ,polygnotan times4 ,the slaying of ,aktaion by the divine huntress ,artemis was brought to great effect by the ,pan master1 so called from the reverse of the same ,boston bell-krater 7,fig4 #aca74 ,in the stiff folds of the cloak of ,artemis this vigorous and original painter betrays his descent from the archaic style1 which can be plainly followed in his works1 always full as they are of dramatic life4 ,otherwise there is little archaic in this picture4 ,the long lower part of the face1 which lends the heads their severity1 the folds running themselves out1 which assert themselves even in the chiton1 the surely drawn fore-shortened foot of ,artemis1 the lower legs of ,aktaion disappearing in the background1 show the progressive master2 the suggestive effect of the composition1 and the urgent language of the gestures are quite in the spirit of the noble new style4 ,with the ,centaur psykter in ,rome 7,fig4 #acb7 we get perhaps beyond the bloom of ,glaukon's beauty1 and what reminds us of old times in the grotesque movement of the battle scene is probably only individual failings of the master1 which he outweighs by many innovations4 ,the three-quarters view of the face1 the fore-shortening of the shield1 the motive of the falling man seen from behind1 are significant of the struggle with perspective2 the bestial lust for battle speaks out of the eyes of the attackers as does the penetrating pain of the wounded2 and the pathos of the gestures is at least post-archaic4 ,the impression of this vase is remarkably determined by the experiments in colouring1 which the master undertakes with help of thinned colour3 the helmets1 greaves1 and hides he has made dark in contrast with the human skin1 he has given an effect of light to the material of the hair of head and beard1 and rounded the horses' bodies by shading4 ,these novelties of the somewhat crude and quaint master are only intelligible as reflection of a great painting1 which struggled with problems of expression and light1 as is expressly testified for the art of the great ,polygnotos and his contemporaries4 ,naturally at no time were vase-painters entirely uninfluenced by the achievements of the great art4 ,but just now in the sixties of the #eth century1 this borrowing made itself felt more than ever1 and enticed the vase-painters often beyond the limits of their branch of art4 ,this comes not only from the overpowering impression of the great personalities among the painters of this period1 but especially from the fact1 that wall-painting now struck out new bold paths1 on which vase-painting could follow it less than ever4 ,among the vase-pictures1 which very strongly echo these new strains1 are the later works of the #8horse' master4 ,the interior of the ,penthesileia kylix 7,fig4 #acd7 only enclosed by a delicate branch1 the master did not paint as in ,illustration3 ,,plate ,,lxxx4 ,fig4 #acb4 ,,battle ,,with ,,centaurs3 ,,red-,,figured ,,psykter4 ,fig4 #acc4 ,,top-,,player3 ,,from ,a ,,white-,,ground ,,kylix ,,with ,,the ,,signature ,,of ,,the ,,potter ,,hegesibulos4 ,illustration3 ,,plate ,,lxxxi4 ,fig4 #acd4 ,,achilles ,,kills ,,penthesileia3 ,,interior ,,of ,a ,,red-,,figured ,,kylix4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 the kylikes of ,berlin and ,athens on white ground1 but he heightens the red-figured technique by the application of thinned black glaze1 by dull red and light grey surfaces1 with brown and white additions1 and by applications of gold4 ,the four figures which are forced into this circle almost burst the frame1 not merely by the disproportion of their tall forms1 but still more by their inner greatness and passion4 ,in the midst of the battle-field1 where the sword rages1 and the ground lies full of corpses1 ,achilles has overtaken the ,amazon queen1 and furious with rage1 plunges his sword in her heart3 however much her hands and eyes plead for mercy1 it is too late4 ,the features of ,penthesileia betray more of inner life than those of ,orpheus3 and on a second ,munich kylix1 on which ,apollo in presence of ,ge slays her son ,tityos1 the master has gone a step further in physiognomy4 ,the three faces are as convincingly graduated in expression as for example those on the beautiful #8,lament for the dead1' by a contemporary master1 in ,athens4 ,on the big interior of his kylikes 7,fig4 #acd7 the #8horse' master could give freer play to his genius than on the exteriors1 which1 as in the kylikes of ,berlin and ,athens1 he adorned with pretty scenes from the stable4 ,the contrast between the great round pictures with their fine technique1 and the lightly sketched exteriors1 is so great1 that some have thought of two artists working in the same studio1 who divided the work1 so that the #8horse' master would be different from the ,penthesileia master2 but the white-ground exterior of the ,orpheus kylix seems to build the bridge4 ,it is certainly characteristic that the exteriors of kylikes in this period no longer tempted talented painters to such lively compositions1 as in the days of the ,brygos and ,perugia painters1 and that even in the lifetime of the great ,euphronios the paratactic decorative style most consistently prepared by ,duris laid hold of these exteriors4 ,the new style required big surfaces1 and the most faithful reflexions of wall-painting are to be found on large vases4 ,the most famous of these great ,polygnotan vases is the ,paris calyx-krater from ,orvieto 7,fig4 #ace71 the figures of which1 apart from ,athena and ,herakles1 have not yet been certainly identified4 ,from the expectant attitude of the figures it has been suggested that the picture represents the start of the ,argonauts1 or the preparation of the ,attic heroes for the battle of ,marathon4 ,the great mythological scene is at any rate in the manner of the new period1 which no longer has the preference of the ancients for the crisis of action but rather depicts preparation and after-effect1 reflection on the deed accomplished and rest from action4 ,that a ,polygnotan wall-painting preceded the vase-painting in this psychologically refined conception1 may be regarded as proved4 ,for the figures not only appear in all sorts of bold foreshortenings1 front and side views1 not only surprise us by an abundance of motives1 which are quite beyond previous vase-painting1 but also show a series of peculiarities1 which are expressly described as innovations of the great fresco-painter4 ,when the figures of the krater open their mouths and show their teeth1 when the stationary interior folds1 the so-called drapery eyes have shadows painted in them1 this can only be explained as imitation of the great painters1 and similarly the gnashing of teeth and the shading of the horses' bellies on the ,centaur psykter4 ,the ,argonautic krater shows this dependence very strongly in its composition4 ,great painting had not only graduated the parts of the body in deep spatial layers1 but transferred this novel deepening to the arrangement of its groups1 distributing the actors over hilly country1 which either elevated ,illustration3 ,,plate ,,lxxxii4 ,fig4 #ace4 ,,the ,,argonauts 7874 ,,kalix-,,krater ,,of ,,polygnotan ,,period4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 the figures of the background or often partly concealed them4 ,it is clear that an art1 which characterized the rounding of shields and bodies and the recesses of drapery by the distribution of light and shade1 also gave actuality and effect of depth to the landscape by shading1 though in primitive fashion1 and a series of #8,polygnotan' vases proves the fact1 by making flowers1 bushes and plants spring out of the ground4 ,it is true the painter of the ,argonaut krater does not go so far1 but he shows more strikingly than any other vase-painter the landscape of ,polygnotan paintings1 which1 not forgetting the surface effect of vase-decoration1 he does not shade but only indicates in outline by the incising tool4 ,that in other ways1 too1 he altered his pattern to suit the technique of vase-painting1 is proved by the freedom in the use of colour and perspective1 which on other specimens of this period burst the barriers of vase-painting4 ,both encouraged and warned by such examples1 one must look through the vase-painting of this period for other traces of ,polygnotan painting1 especially on vases which agree in subject with the wall-paintings of which we have accounts1 and not only in the freedom named1 but also in the inferiority of the execution to the conception1 show of what spirit they are the offspring4 ,one can never expect copies4 ,the very fact that exact replicas never occur among the ,polygnotan types1 shows that the vase-painters dealt with the borrowed property according to their own individuality and for their definite purpose4 ,so the two cases we have selected must be judged individually4 ,the #8,penthesileia' master was probably stimulated to his treatment of the theme by a big ,amazon painting2 but the clever painter not merely translated this impulse into his own brilliant technique and adapted it to his circular field1 but also extended over it his personal great feeling1 and translated the picture into his personal style1 so that it has the effect of a natural continuation of his earlier works4 ,the #8,argonaut' master had no concern with this great #8,ethos' or the delicate polychrome technique4 ,he borrowed more superficially1 took an extract from the big scene of his model in his strong relief-lines1 and emphasized the individual characteristics rather than the dash of the original4 ,in realism1 his bearded hero holding a spear is not inferior to the contemporary warrior of the ,new ,york krater 7,fig4 #acj74 ,great painting went on tempestuously developing1 and in the next age burst its fetters of colour and space in a manner which could not but deter even the boldest vase-painter from imitation1 if he were not to shake off every sane regard for the preservation of his surface-effect4 ,so reflexions of wall-painting on vases become rarer1 and the #8,polygnotan' vases remain an episode4 ,naturally there were many vase-painters who did not enter this dangerous ground3 nay1 the majority did not do so4 ,with many the avoidance of a big surface went so far that they divided the outside of a calyx-krater or big #8aryballos' into two friezes and filled them with small figures in defiance of constructive considerations4 ,out of the series of these #8little masters1' who beside the big-figure painters continued the traditions of the elegant style1 let us mention e4g4 the painter who decorated the box signed by the potter ,megakles 7,figs4 #acf-g7 with charming scenes from women's apartments1 and the lid with five comic hares2 or the author of the girl plying the top on a white-ground kylix of the potter ,hegesibulos 7,fig4 #acc71 a potter who was active as early as the ,leagros period2 and especially ,sotades1 from whose workshop came not only plastic vases in the shapes of horses1 sphinxes1 knuckle-bones1 crocodiles devouring negroes1 etc41 but also white-ground kylikes of most elegant shape1 whose exquisite interiors1 like the friezes of those ,illustration3 ,,plate ,,lxxxiii4 ,figs4 #acf #acg4 ,,lid ,,and ,,side ,,of ,a ,,pyxis ,,with ,,the ,,signature ,,of ,,the ,,potter ,,megakles4 ,fig4 #ach4 ,,maenads3 ,,from ,a ,,red-,,figured ,,pointed ,,amphora4 ,illustration3 ,,plate ,,lxxxiv4 ,fig4 #aci4 ,,polyneikes ,,offers ,,eriphyle ,,the ,,necklace3 ,,from ,a ,,red-,,figured ,,pelike4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,fig4 #adj4 ,,orpheus ,,among ,,the ,,thracians3 ,,from ,a ,,red-,,figured ,,krater4 drinking vessels1 lead us to the beginning of the age of ,pheidias4 ,this transition is also accompanied by some painters' signatures1 which become rarer1 the more the individual performances of vase-painters are cast in the shade by the great art4 ,the signatures do not present us with the first artists of the time4 ,hermonax is somewhat smooth and tedious1 and ,polygnotos1 the namesake of the great painter1 to judge from the mixed nature of his unoriginal style1 must have lived by borrowing4 ,his pelike from ,gela is a ,polygnotan vase with an ,amazon scene2 on the ,london stamnos1 to be dated about the middle of the century1 advanced and old-fashioned types are combined in an unpleasing fashion4 ,anonymous masters better represent the transition from ,polygnotos to ,pheidias4 ,the master of a krater with a dancing scene in ,rome 7the #8,villa ,giulia' master71 is not distinguished for temperament and progressiveness1 but is rather a correct and academic individual2 but the neatly drawn scenes of his krater and stamnoi1 in the noble bearing of the figures and the manner in which they gaze at each other1 betray the approach of a new ideal of man4 ,much more talented is the master1 who on a pointed amphora at ,paris combined the wonderful group of two ,maenads 7,fig4 #ach7 with a scene of ,bacchic revelry1 as ,amasis did almost a century before 7,fig4 #ih74 ,the two girls are of truly royal dignity1 like each other in this1 but subtly distinguished in expression4 ,the three-quarter view of the head is almost devoid of harshness1 and only the ladle-shaped under lip connects her with the ,polygnotan female heads4 ,how even the drapery becomes a vehicle of expression and every fold breathes the greatness of the whole picture1 may become clearer if we look at the #8,eriphyle' of a pelike at ,lecce 7,fig4 #aci71 with which we also pass the middle of the century4 ,this picture must be compared to the ,corinthian ,amphiaraos krater 7,fig4 #ff7 to see1 how in the interval of #abj-acj years the soul of art has changed4 ,the later master represents not the dramatic culmination of the story but the psychological climax1 when ,polyneikes offers to the wife of ,amphiaraos the seductive necklace1 for which she will send her husband to death4 ,as often on vases of this period1 two figures stand calmly facing one another1 but they are here united by most delicate psychology2 ,eriphyle1 simply attired in plain peplos1 is full of an inner life which circulates through her body to the finger-tips4 ,this harmonious union of a monumental type with intimate feeling is at the beginning of the most ,greek period of ,greek art-history1 the most human period of the history of mankind1 the age of ,pheidias4 ,if we name the following decades of the history of vase-painting after ,pheidias1 we do not mean that he was in very close relations with the art of the vase-painters4 ,but the artist1 who in the ,parthenon frieze introduced that inconceivable nobility of form1 who in the ,west side of the frieze developed the play of lines to new greatness1 to heighten it in the pediment to a great outburst of passion1 impressed this age so much with his nature that one cannot imagine the vase-paintings as unaffected by this powerful influence4 ,never was ,greek art so much an art of expression as at this period4 ,as if in response to the search for a word to describe this new expression1 the beautiful musical pictures of the time present themselves4 ,since the ,geometric style art had continually represented musical performers1 but it was reserved for the age of ,pheidias to give pictorial expression to the effect of musical sounds on men4 ,the krater from ,gela 7,fig4 #adj7 belongs to the early ,periclean age2 the sure touch in the rendering of a twist of the body and its rounded form is now a matter of course even in the hasty execution of a second-rate draughtsman2 the head type gets the ,illustration3 ,,plate ,,lxxxv4 ,fig4 #ada4 ,,music3 ,,red-,,figured ,,necked ,,amphora4 ,illustration3 ,,plate ,,lxxxvi4 ,fig4 #adb4 ,,sleep ,,and ,,death ,,carry ,,out ,a ,,warrior ,,to ,,burial3 ,,white-,,ground ,,lekythos4 square outline1 the shortened jaw1 the long drawn nose1 which are characteristic of the age of ,pheidias2 the repetition of the epithet kalos shows that the custom of inscribing a love-name is dying out4 ,about contemporary is the ,london amphora with twisted handles 7,fig4 #ada7 with the ,muses ,melusa and ,terpsichore and the bard ,musaios4 ,orpheus among the ,thracians and ,terpsichore in a reverie with the harp are purely pictures of lyric feeling4 ,as if music had tamed them1 the vase-pictures of the ,periclean age change their nature4 ,all crudities have gone3 the too bold foreshortenings and the realistic details taken from great paintings are less obvious3 nothing any longer disturbs the free play of the lines4 ,the conception of men rises to its highest possible point4 ,the figures on the ,munich stamnos 7,fig4 #adf7 are not merely masterpieces of fully developed drawing but also ideal types of pure free humanity4 ,movements are often merely motives of beauty3 the fold style combines a new naturalism with the most monumental effect4 ,this new spirit also animates the finest of the white-ground lekythoi1 whose proper history begins in the ,glaukon period 7p4 #acd7 and cannot be traced far beyond the #eth century4 ,in their first period they had preferred to render domestic scenes1 representations from the female apartments4 ,but the purpose of these grave vases continually asserts itself more and more4 ,the ferryman of the dead appears1 to take goodly men into his bark2 the brothers ,sleep and ,death dispose of the corpse 7,fig4 #adb72 ,hermes1 the conductor of souls1 waits to be followed2 the dead man laments for his life4 ,but the domestic scenes have given place to the walk to the grave2 and the visit to the tombstone1 beside which the dead man stands or sits as if alive1 becomes the typical subject of the lekythoi4 ,the special technique of these vases produces an effect often very different from the red-figured style1 especially since the white filling of the outlines 7p4 #acd7 is dropped4 ,the employment of glaze-colour in the rendering of outlines1 and the transition to brush-painting1 with which from the first surfaces had been covered in different varieties of colour1 lead afterwards to an unusual individualization of the line4 ,one cannot say that this technique approximates the lekythoi to the effect of wall-painting as much as it severs it from red-figured vase-painting4 ,only a few exceptional late specimens in their pictures operating freely with light and shade burst the bounds of vase-decoration1 and show clearly with what good sense the vase-painters renounced competition with the great art1 which now victoriously solves the problems of full perspective1 of giving the effect of depth in space1 with the gradation of dimensions1 and the contrasts of light and dark4 ,in a ,boston lekythos 7,figs4 #adc and #add7 we have an #8existence' picture in the manner of the new period 7p4 #acf74 ,the dead warrior stands in ,polygnotan attitude1 with bent arm resting on his hip 7cp4 ,fig4 #ace1 last to left71 beside his altar-shaped tomb1 and looks over it to the girl1 who without perceiving him approaches with funeral offerings4 ,one notices in the treatment of the nude1 that he is the product of an age which already had the perspective sense3 so vividly do the few lines of his contour1 his muscles1 and his knee-pan1 give the suggestion of a rounded body2 and also the drawing of the female nude1 which accident has freed from the drapery added in perishable dull paint1 in its very realistic outline goes beyond anything previous4 ,since the ,circe and ,phineus kylikes1 and the numerous black-figured and red-figured pictures of bathing1 dancing1 and drinking hetairai1 art had busied itself with the naked bodies of women as much as of men3 and where nudity could not be represented1 it indicated the outlines of the body through ,illustration3 ,,plate ,,lxxxvii4 ,figs4 #adc #add4 ,,youth ,,and ,,maiden ,,on ,a ,,white-,,ground ,,lekythos4 ,fig4 #ade4 ,,woman ,,seated ,,at ,a ,,gravestone3 ,,from ,a ,,white-,,ground ,,lekythos4 the cover of the drapery 7p4 #aai74 ,for ,polygnotos we have the express tradition of women with transparent garments1 and on the ,argonaut krater even ,athena's grand forms are indicated2 the great liberator of wall-painting must also have been a pioneer in the drawing of the female body4 ,the new style here too brings perfection and fills the form of women with its noble greatness and simplicity4 ,that it too1 in contrast with the #dth century1 eschews all that is typically feminine1 soft and unformed1 is a proof how strong was the ideal of male beauty4 ,a ,london lekythos 7,fig4 #adb7 also represents a dead soldier at the grave4 ,the winged brothers ,sleep and ,death with tender hand dispose of his corpse1 as they do with the dead ,sarpedon in the ,iliad3 and the lekythos-painter took his type also from the ,sarpedon pictures2 the young warrior who had fallen far from his country1 should on the vase have the same boon of burial in his native soil1 as was granted by ,zeus to the ,lycian king4 ,the fine type was then divested of its proper meaning and received a more general signification4 ,the ,london vase1 which uses lustreless colours for the outlines of its figures also1 must be somewhat later than the ,boston vase1 although the new technique1 that is pure brush technique1 went on for a time beside the old4 ,though stylistic estimates now become difficult1 one fancies in the wonderful vigour of the drawing1 and in the stronger individuality of the hair1 that one is nearer to the period of the ,parthenon pediments than in the somewhat more austere ,boston group4 ,where the way led may be shown by the woman sitting on the steps of a tomb on a lekythos in ,athens 7,fig4 #ade71 which not only by the strongly plastic suggestion of the outline goes beyond the ,pheidian period proper1 but also in the grandiose heightening of the simple motive shows itself as one of the works which take up and cast in new moulds the pathos of the ,parthenon pediments4 ,every line in the very individual drawing of the woman1 who is supporting her left hand and lifting her garment with her right1 while her feet are unruly in submitting to the sitting posture1 is animated by passionate unrest4 ,though the age of ,pheidias liked pictures of feeling with quiet figures like the music-scenes1 the ,munich stamnos and the lekythoi1 it did not exhaust itself in them4 ,beside the vases with large figures1 there are others1 which continue to cultivate the elegant style and prepare the way for a class which flourishes in the last decades of the century4 ,little jugs with nursery scenes1 pomade boxes with pictures of female life1 globular unguent pots with lekythos-like mouth are the principal vehicles of this style1 and the 8,eretria0 master is a typical representative4 ,on great and small vases we find scenes of animated motion1 passionate scenes of conflict1 which on their side too1 share in the nobility of the style of the age4 ,the brutal vigour and hardness of old motives seems broken1 softened1 often almost takes a turn to elegance4 ,the order of the large compositions with its arrangement of the figures over one another and indication of the broken ground by lines closely follows the ,polygnotan system4 ,but while the ,polygnotan depth in space was produced by a naturalistic tendency1 which soon led to complete freedom in the great art1 it is continued by the vase-painters as a mere principle of distribution and space-filling1 i4e41 it receives a decorative character4 ,one of the finest pictures of movement from this period decorates a stamnos at ,naples 7,fig4 #adg73 women who are sacrificing before a tree-trunk dressed out as ,dionysos and dancing to the tambourine4 ,the exact dating of this picture1 like the whole chronology of the late and post-,pheidian vases1 is a matter of dispute3 but this much is certain1 that it cannot be understood except as a near echo of the art of ,illustration3 ,,plate ,,lxxxviii4 ,fig4 #adf4 ,,red-,,figured ,,stamnos4 ,fig4 #adg4 ,,offerings ,,at ,,the ,,image ,,of ,,dionysos3 ,,from ,a ,,red-,,figured ,,stamnos4 ,illustration3 ,,plate ,,lxxxix4 ,fig4 #adh4 ,,pelops ,,and ,,hippodameia3 ,,from ,a ,,red-,,figured ,,necked ,,amphora4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 the ,parthenon pediments4 ,into the noble line-drawing of the middle style of ,pheidias has come a new passionate movement1 which draws the contour in more violent curves1 dissolves the hair in strong waves1 throws the drapery into great folds1 and enlivens the clinging parts with restlessly curving inner folds4 ,the upper garment of ,dionysos is given rich effect by long border zig-zags1 interspersed stars and an embroidered wreath1 the expression of his eyes is strengthened by emphasis on the upper lid4 ,details added in white and liberal use of thinned black heighten the coloured effect4 ,this new style with its marked enhancement of the lines is the later style of ,pheidias1 a reflection of the last and highest development of the ,parthenon master1 which pointed ,attic art into new paths1 and lived its life out and died in the school of ,pheidias4 ,the amphora with twisted handles at ,arezzo 7,fig4 #adh7 must be in close connection with the last phase of the ,pheidian style and cannot be far removed from the ,naples stamnos4 ,its shape enriches the type of the ,terpischore vase in ,london 7,fig4 #ada7 by sharper profiling of the mouth and foot1 but does not yet draw the lower part into the dull curve1 which robs the amphorae and bell-kraters of the end of the century of strong and taut effect4 ,similarly the scene1 the wild career of ,pelops and ,hippodameia over the sea1 heightens the tendencies of ,pheidian art without succumbing to the palsy which can be felt in the style of ,meidias4 ,the divine horses1 the gift of ,poseidon1 emit sparks of the fire of the steeds on the pediments2 the majestically animated attitude of ,hippodameia reminds one of the ,athenian lekythos 7,fig4 #ade72 in ,pelops every line is full of passion and bold movement4 ,here too the draperies are rich and elaborate1 the restless billowing of the folds is more marked than on the ,naples stamnos1 and the flowing chiton folds1 which cling close to the body1 prepare for the exaggeration dear to post-,pheidian sculpture and painting4 ,not only does the drawing of individual forms show a plastic conception of space1 but the whole scene is inconceivable without a contemporary big painting with considerable landscape capacities3 from the tree-clad hilly coast the chariot rushes out upon the deep sea4 ,in fiery impetus only one of the vase-paintings of this period can compare with the ,pelops vase1 the somewhat later ,naples fragment of a ,gigantomachia 7,figs4 #adi-aea74 ,an invention of truly ,titanic force1 which is also echoed on other later vases1 must be the basis of this picture1 and even the unusual division 7unsuited to vases7 by an arch points to a model from another branch of art4 ,in a rocky landscape the fight for existence of the gods and the sons of the earth-goddess takes place in the early morning1 when ,helios is rising on the vault of heaven and ,selene is sinking down into ocean1 as on the east pediment of the ,parthenon4 ,the bold movements1 the twistings and bendings of the combatants1 the #8lost' profile1 the swellings and packings of the skin and muscles are rendered with sure touch4 ,the plastic effect of the middle line of chest and abdomen is increased by doubling1 and horizontal folds bring out the lower part of the forehead1 the locks of hair and tips of hide flutter as if they were alive2 the breasts of the earth-goddess are modelled out of the drapery as if bare1 the eyes are deep-set1 the underlips project4 ,that the rendering of the female body was now not less accomplished than that of the male1 beside the lekythos in ,athens1 a picture of a different order may show4 ,on an ,oxford jug appears in the spaciousness favoured by these vases an old theme1 ,satyr and ,nymph 7,fig4 #aed74 ,one can scarcely realize the nobility of ,pheidian conception more fully than by comparing this scene with the ,phineus kylix 7,fig4 #gd7 and its congeners4 ,what early ages had represented ,illustration3 ,,plate ,,xc4 ,figs4 #adi-aea4 ,,gigantomachia3 ,,fragment ,,of ,a ,,red-,,figured ,,krater4 ,illustration3 ,,plate ,,xci4 ,fig4 #aeb4 ,,adonis ,,and ,,aphrodite3 ,,from ,a ,,red-,,figured ,,hydria4 with drastic humour1 is here refined and given a soul3 even the ,satyrs and ,centaurs1 the rugged monsters of the woods and mountains1 are tamed by the new spirit which will not any longer endure brutality and obscenity4 ,the sleeping nymph ,tragodia is not only correctly observed in her foreshortening1 in movement and distribution of the weight of the body1 she is also the vehicle of a wonderful feeling4 ,the picture1 which immediately prepares for the works of the ,meidias painter and the #8,pronomos' master1 and beside the great style of the ,pelops and ,giant vases shows us the continuance of the refined and elegant style1 cannot have been produced long after ,pheidias' death4 ,the time of the ,school of ,pheidias1 of whose best works we have been introduced to a selection1 gives us again a few artists' names4 ,the painter ,aison gives us a ,madrid kylix with the exploits of ,theseus1 which must be about contemporary with the ,giant vase4 ,on the ,theseus of the interior the hair is dissolved into lively curls1 which stand out dark on a lighter ground1 and the plastic swelling of the belly goes to the utmost limit of what is possible2 in his protectress ,athena we see already the contrast between the leg that bears the weight and is covered by hanging folds1 and the free leg1 which is closely covered by the drapery2 which is exaggerated by ,aristophanes1 whom the potter ,erginos employed1 just as is the hair with light under-painting1 and the chiton clinging as if moist and blowing back4 ,aison1 who began his activity even in ,pheidian days1 draws more elegantly than his younger colleague1 but neither master initiated a new development of kylix painting4 ,the greatness of both lay in exploiting as artizans accessible types4 ,with the works of ,aristophanes we probably go further from the time of ,pheidias than with the ,naples fragment3 the works of the #8,meidias' painter take us to the time of the ,nike balustrade1 i4e41 the two last decades of the #eth century4 ,they too are an echo of the art of the ,parthenon pediments1 but in travelling along the road this echo has lost its vigour4 ,on the unsigned ,adonis hydria in ,florence 7,fig4 #aeb7 all the figures exuberate in lazy grace and fine motives of beauty4 ,particularly the groups1 ,adonis in the lap of ,aphrodite1 and ,hygieia with ,paidia1 remind us of the ,parthenon1 the wonderful melting forms of the #8,fates' and other pediment figures4 ,but what there was born of passion1 is here become fashion1 and is playfully treated4 ,the excitement of the faces with wide nostrils1 the bowing and bending of bodies conscious of their beauty1 the supporting of arms and play of fingers1 the whole extent of the carelessly united society on the wavy hill-lines 7p4 #ada7 in spite of all its grace has something of the formula about it4 ,the style of the drapery is certainly an indication of the weakening of earlier vigour4 ,the many and over elegant broken-up folds1 which cling unnaturally close to breast and free leg1 the curling of the cloak folds1 and the independent movement of the tips1 is a long way off the ,parthenon pediments1 which inaugurate this enhancement of style1 but without loss of vigour and by a kind of natural evolution4 ,the effort for fine effect1 which is expressed in the rich patterning1 is in noticeable contrast to the restlessness of the drapery4 ,a certain inclination to pomp is characteristic of the post-,pheidian style4 ,the raised gilt details of the clay1 which we know already on the white ground lekythoi 7,fig4 #acd71 the box of ,megakles 7,fig4 #acg7 and the works of the ,eretria master 7p4 #adh71 are now in high honour1 and are plentifully employed on the ,adonis vase4 ,the ,meidias painter also produced a series of similar pure pictures of #8existence' on hydriae1 e4g41 the fair ,phaon1 the singer #8,thamyris1' ,paris with the goddesses1 ,illustration3 ,,plate ,,xcii4 ,fig4 #aec4 ,,the ,,giant ,,talos ,,overcome ,,by ,,the ,,dioskuroi3 ,,red-,,figured ,,volute-,,krater4 the ,eleusinian deities1 and decorated other vases also in this manner4 ,these scenes1 on which the figures move less vigorously than the lines1 are more successfully rendered than the pathos of the scene of abduction on the ,london hydria signed by the potter ,meidias4 ,he was no bold progressive artist2 his technically exquisite and very delicately drawn pictures recast in new shapes the new phenomena of art3 in him the series of masters of the type of the #8,sotades' painter and the ,eretria master comes to an end4 ,his contemporary1 who may after the chief figure of the ,satyric play vase at ,naples be called the #8,pronomos' master1 likes figures of #8existence' in pretty poses1 but he draws them with more spirit and does more justice to the vehement style of his time4 ,on the ,naples vase1 a showy volute-krater with rich profiling1 he puts on the obverse the cast of an ,attic theatrical performance in two almost equal rows one above the other1 and thus starts a principle of composition which was taken up by the vase-painting of ,lower ,italy 7,fig4 #aeh74 ,liberal use is made of thinned colour1 the centre of the scene is denoted by a white figure1 the luxuriantly ornamented dresses confuse the general impression4 ,in respect of shape and decoration one may speak of a decay of the finer tectonic sense1 which reminds us surprisingly of the vases of ,lower ,italy4 ,the perspective side-view of the footstool and of the tripod column are liberties taken by the great art1 which generally ,attic vase-painters consciously avoid so as to keep to the surface treatment4 ,the tripod-column1 which transplants us into the ,theatre of ,athens1 as the ,athena of the ,panathenaic vases to the ,acropolis1 recurs after ,polygnotan times often in the midst of mythological scenes1 and brings the vases1 which show it1 anyhow in relation to dramatic exhibitions4 ,it has been proposed to recognise the effect of the stage on vase-painting1 e4g4 in the increased pomp of the dresses4 ,this effect might at the most have taken place indirectly2 for that the vase-painters often took as their patterns votive paintings of victorious ,choregi1 is more than probable4 ,and in general one may draw conclusions as to the great art from many a fine invention1 which is seen on vase-paintings at second-hand1 e4g4 from the ,bacchic scenes on the reverse of the #8,pronomos' vase4 ,this conclusion is certainly also justified in view of the ,talos vase 7,fig4 #aec7 which transforms the mighty echoes of the late ,pheidian art into the pompous1 as the ,meidias vases into the ornamental-elegant4 ,the vase-shape is closely allied to that of the #8,pronomos'3 the central figure in white1 so popular in this period1 recurs1 and in its spatial effect is enhanced by shaded modelling far above the proportions of the other figures1 which show plainly the conscious restraint of the vase-painters4 ,though the #8,talos' master altered the composition of his pattern to suit his vase1 he must have preserved with tolerable faithfulness the grandiose invention of the centre group2 the passionate impetus1 which fills the whole scene and catches even the cloaked figures of the reverse1 is here most convincing4 ,with this fine masterpiece1 which almost exaggerates the element of show1 not separated by more than two decades from the ,parthenon pediment1 we close the history of the vases that show the style of ,pheidias4 ,nay1 one may regard the proper history of ,greek vase-painting as closed with these post-,pheidian vases4 ,not merely does the potter make his vases untectonic by excessive profiling and elaborate extension1 but the painter too1 interrupts the unity of the vase-surface with the white-painted and plastically modelled central figure2 thus in a sense the silhouette style is declared bankrupt4 ,illustration3 ,,plate ,,xciii4 ,fig4 #aed4 ,,satyr ,,and ,,sleeping ,,maenad3 ,,from ,a ,,red-,,figured ,,jug4 ,fig4 #aee4 ,,women ,,at ,,the ,,bath3 ,,from ,a ,,late ,,attic ,,pelike4 ,from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,,chapter ,,vii4 ,,late ,,offshoots ,we should unnaturally shift the centre of gravity in our narrative if we treated the late period of ,greek vase-painting with anything like the same fulness as its development from the ,geometric to ,meidias4 ,the fully developed and often almost playfully treated vase-shapes give no longer any really tectonic ground for the silhouette style1 which had exhausted the qualities compatible with its inward nature3 the elegance of the vases feels the pictorial decoration to be a burden1 as does the style of the figures feel the tectonic compulsion4 ,even in the last third of the #eth century examples are multiplied of the transition to free brush technique4 ,the ,pelops amphora 7,fig4 #adh7 adorns its black neck with a sphinx added in white1 the ,talos vase 7,fig4 #aec7 and with it a multitude of other vases seek to fix the impression by a white central figure1 to which the others rendered in ordinary technique are only a pale foil4 ,in the course of the #dth century this foil too1 was dropped1 and black glazed vases of elegant shape were decorated only with figures or ornaments loosely added in white4 ,the brush technique1 both the black of ,boeotian vases 7p4 #aaj7 and the white of ,attic and ,lower ,italian1 made a new development in ornamentation1 which culminates in spiral tendrils and branches with depth of space1 in combination of figures and foliage of plastic effect4 ,besides these freely decorated vases the red-figured long continue4 ,but the centre of gravity of the manufacture lies no longer in ,athens4 ,even in the time of ,pheidias the ,attic school sent a branch to ,lower ,italy1 which took root in the ,periclean colonies of ,lucania1 extended to various places in ,lucania1 ,campania1 ,apulia1 and ,southern ,etruria1 and soon grew up as a strong plant4 ,in this production1 which in the #dth century completely supplanted ,attic importation1 few really original artists took part1 who all seem to belong to the early period1 and perhaps were emigrated ,athenians2 the master of the ,paris #8,tiresias' krater is one of them4 ,from the early group1 in which good ,attic tradition is strongly felt1 we select two bell-kraters4 ,the full1 and rather empty heads1 the very general conception of the divine types leave us no doubt as to the ,italian origin of the ,paris #8,orestes' vase found in ,lucania 7,fig4 #aef71 while the wonderful group of the sleeping ,erinyes1 ,klytemnestra urging them to vengeance1 and the purified ,orestes1 show us not only a fine model but a clever hand4 ,from the drawing and shape of the vase it may very well belong to the end of the #eth century1 like the closely analogous ,london krater 7,fig4 #aeg74 ,this vase with much humour introduces to us one of the favourite ,italian farces 7the ,phlyakes7 and begins a long series of similar representations from different workshops4 ,thus e4g4 the painter ,assteas painted two ,phlyax vases1 one of which in comic parody gives the violation by ,aias of ,kassandra1 while the other is a serious theatrical scene1 which with its detailed rendering of the stage clearly demonstrates the influence of the drama on vase-painting4 ,the activity of this painter1 who from the stiff variety of the style and the localities of the finds must be localized in ,south ,campania1 belongs to a later phase1 which does not concern us4 ,for the more these ,italo-,greek vases in shape1 decoration and representation develop local peculiarities and depart from their purely ,attic starting point1 the less do they belong to our survey1 which excludes provincial varieties4 ,out of the mass of ,lower ,italian vases of the #dth century1 which in shape partly run parallel with the ,attic1 ,illustration3 ,,plate ,,xciv4 ,fig4 #aef4 ,,orestes ,,and ,,the ,,furies3 ,,from ,a ,,lucanian ,,bell-,,krater4 ,fig4 #aeg4 ,,comedy ,,scene3 ,,lower-,,italian ,,bell-,,krater4 ,illustration3 ,,plate ,,xcv4 ,fig4 #aeh4 ,,achilles ,,and ,,thersites3 ,,apulian ,,volute-,,krater4 partly develop noticeably baroque and locally limited peculiarities1 which in their chiefly sepulchral representations1 influenced by ,orphic-,dionysiac cults1 often fall into coarseness1 stiffness1 or effeminate insipidity1 let us take only one example4 ,the ,boston volute krater1 #a metres high 7,fig4 #aeh7 belongs to a group of ,apulian grand vases1 which elongate the shape of the ,talos vase 7,fig4 #aec7 and add rich ornament in white colour4 ,on the reverse bearers of offerings above one another in the favourite borrowed motives 7sitting1 standing1 running1 leaning on a pillar1 drawing up one foot7 surround a white-painted ,heron with the dead man3 the obverse combines a similar building with a mythological scene1 the slaying of ,thersites by ,achilles1 and thus gives a mythical prototype to the dead man1 for whose grave the vase is designed4 ,the liberal use of white paint1 the #8black ground' ornamentation of the neck and foot with branches and tendrils are progressive elements1 which lead the way for ,hellenistic products like the ,apulian ,gnathia vases2 in the increased pathos of the faces is traced1 though provincially coarsened1 the stronger weight given to sentiment in the #dth century2 and the perspective rendering of the building operating with light and shade1 which often extends to the ornament1 points to a period1 which had won complete freedom in space1 and certainly could distribute figures over the landscape more naturally than the vase-painter1 who filled the tall space with them only in a superficially decorative way4 ,sentiment and light1 the great achievements of #dth century art1 were the ruin of the decorative silhouette style1 whose figure world can admit of pathos1 as little as the bursting of its vase sides by perspective views corresponds to its surface decoration4 ,even in ,athens1 where out of the successors of the ,meidias1 ,pronomos and ,talos styles an after-bloom developed 7,figs4 #aee and #aei71 which from the rich exports in the ,black ,sea is usually called the ,kerch style1 the new tendencies of art were fatal to the red-figured style4 ,to be sure this was in a different direction to ,lower ,italy4 ,the figure world of the elegant ,attic vases1 which in the new naturalness of motives and drapery1 in the strong emphasis on female forms1 is far removed from the types of ,pheidias1 betrays little of the enhanced pathos of the great painting1 which one would have to deduce from the sculpture of ,skopas and ,praxiteles1 even if it were not expressly witnessed to by literary tradition4 ,from the same finer decorative sense the ,attic masters made no use of the full perspective of their time1 and interrupted the vase-surface neither by buildings or ornaments drawn in perspective nor by composition in several planes1 but following the old manner simply arranged above and beside each other on the surface their generally large and restful figures4 ,as in the post-,pheidian style they like to pick out single figures by white colour1 and do not despise gilded additions1 nay1 they even often heighten the decorative effect of colour by the application of light blue1 green and rose1 occasionally also by figures in relief and painted 7as ,xenophantos did in his aryballos with hunting ,persians1 meant for ,eastern customers1 in signing which he emphasizes his ,athenian citizenship74 ,the varying shades of the colour scale give one an inkling of the new problems of light1 which were certainly struggling for expression not only in sculpture2 in the drawing of the figures1 rendered in strong relief strokes1 nothing of this is observed4 ,thus the #8,kerch' masters ensure to their vases a finer general aspect than the ,southern ,italians1 just as their commonest figures are distinguished from the ,italian by a certain nobility2 but they are far behind the huge advances of the great art1 which now in its methods of expression attained the heights perhaps of ,titian and ,tintoretto1 and have an arrier effect1 listless and ,illustration3 ,,plate ,,xcvi4 ,fig4 #aei4 ,,late ,,attic ,,kalyx-,,krater4 ,fig4 #afj4 ,,hellenistic ,,cup4 dull4 ,just as the new style could express itself better by the applied than by the reserved ornamentation1 which in spite of new formations has a stiff and lifeless effect1 so too the red-figured style1 which as is proved by finds at ,alexandria1 continued to exist down into the early ,hellenistic age1 was no longer the congenial vehicle of the expression of its age2 and it was only seldom that notable personalities attempted to practise it4 ,rightly recognising that the days of the draughtsman and his decorative figure style were past and gone1 the ceramic workshops of the late #dth century1 and the ,hellenistic1 which appeared in several spots of the now decentralized ,greek world1 more and more gave up the red-figured technique4 ,the great increase of the means of colouring1 which is to be assumed for the late painting1 the complete suppression of formal tendencies in favour of impressionism did not permit the silhouette style even a subsidiary place4 ,the future belonged to free brush technique1 that which painted in black1 and that which had a black ground 7pp4 #aaj and #aeg74 ,the figured world1 the representations1 no longer play any part2 the ,hellenistic painters prefer to put on their elegant1 often playfully treated vases tendrils1 festoons1 hanging branches and fillets1 wreathes and masks in loose arrangement4 ,with these products of the mere craftsman1 which are often of fascinating effect 7cp4 ,fig4 #afj71 but often in shape and decoration cause one to miss the delicate taste of earlier times1 ends the history of ,greek vase-painting2 by pottery with relief ornament 7already heralded by the completely black channelled vases of the #dth century and works like the aryballos of ,xenophantos71 which now gains ground more and more1 painted pottery is completely driven off the field4 ,,note ,thanks are due to ,messrs4 ,f4 ,bruckmann1 of ,munich1 for permission to reproduce several drawings from ,furtwngler-,reichhold1 ,griechische ,vasenmalerei4 ,,index ,,of ,,illustrations ,,plate ,i4 ,interior of a kylix signed by ,euphronios as potter3 from ,caere2 ,paris1 ,louvre1 ,g #ajd4 ,diameter #j1ci4 ,from ,furtwngler-,reichhold #e4 ,frontispiece ,,chapter ,i43 ,,the ,,stone ,,and ,,bronze ,,ages3-- ,pl4 ,,ii4 ,fig4 #a4 ,bowl from ,sesklo3 ,athens4 ,height #j1bj4 ,dark painting on lemon-coloured ground4 ,from ,tsountas1 ,dimini and ,sesklo 7,greek71 pl4 #bb ,fig4 #b4 ,face-urn from ,troy ,,ii4-,v43 ,berlin4 ,height #j1cj4 ,from ,british ,school yellowish clay4 ,from ,h4 ,schliemann's ,sammlung ,trojanischer ,altertmer1 ,hubert ,schmidt1 ,no4 #a1jhj and #a1jhd44444,to face page #b ,pl4 ,,iii4 ,fig4 #c4 ,beaked jug from ,syros3 ,athens1 ,nicole #abc4 ,height #j1af4 ,light-brown painting on yellow ground4 ,from ,ephemeris ,arch4 #ahii1 pl4 #aj4 ,no4 #h ,fig4 #d4 ,beaked jug from the sixth shaft-grave at ,mycenae3 ,athens1 ,nicole #ahi4 ,height #j1cj4 ,turned on the wheel1 polished1 lustreless brown 7and red7 painting4 ,from ,furtwngler and ,lschcke1 ,mykenische ,tongefsse1 pl4 ,,ix4 ,no4 #dd444444d ,pl4 ,,iv4 ,fig4 #e4 ,vase of ,kamares style from the palace of ,knossos3 ,candia4 ,height1 #j1bb4 ,painting white1 orange and carmine-red on black glaze4 ,from ,british ,school ,annual ,,ix1 p4 #abj4 ,fig4 #f4 ,unpainted kylix with yellow smoothed surface1 from the fourth shaft-grave at ,mycenae3 ,athens1 ,nicole #afd4 ,diameter #j1ab4 ,from ,furtwngler and ,lschcke1 ,mykenische ,tongefsse1 pl4 ,v4 ,no4 #bb44444f ,pl4 ,v4 ,fig4 #g4 ,funnel-vase of late ,minoan ,i4 from a house at ,palaikastro3 ,candia4 ,height #j1aj4 ,turned on the wheel1 ,annual ,,ix1 p4 #caa1 fig4 #aj ,fig4 #h4 ,funnel-vase of late ,minoan ,i4 from house on the island of ,pseira3 ,candia4 ,from ,seager1 ,excavations on the island of ,pseira1 p4 #be1 fig4 #h ,fig4 #i4 ,vase 7,pithos7 of ,kamares style from ,phaistos3 ,candia4 ,height #j1ej4 ,red and white painting on black glaze4 ,from ,monumenti ,antichi ,,xiv41 pl4 ,,xxxv4 b444444,to face page #h ,pl4 ,,vi4 ,fig4 #aj4 ,stirrup-vase of late ,minoan ,i41 from a house at ,gournia3 ,candia4 ,height #j1bj4 ,from ,h4 ,boyd ,hawes1 ,gournia1 pl4 ,h4 ,fig4 #aa4 ,amphora of late ,minoan ,i41 from a house on ,pseira4 ,with many details overpainted in white4 ,from ,seager op4 cit41 pl4 ,,vii444444#aj ,pl4 ,,vii4 ,fig4 #ab4 ,amphora of ,palace style from a grave of ,knossos4 ,from ,archologia1 #aije1 pl4 ,,ci4 ,fig4 #ac4 ,amphora of ,palace style from a grave of ,knossos4 ,from ,archologia1 #aije1 pl4 ,c444444#ab ,pl4 ,,viii4 ,fig4 #ad4 ,late ,mycenean ,cup from ,ialysos 7,rhodes73 ,london4 ,height #j1bj4 ,dark-brown glaze-colour on yellow ground1 details in white4 ,from ,furtwngler-,lschcke1 ,mykenische ,vasen1 pl4 ,,viii41 #di4 ,fig4 #ae4 ,late ,mycenean stirrup-vase from ,ialysos 7,rhodes73 ,london4 ,height #j1bc4 ,yellowish-red glaze-colour on yellow ground4 ,the tentacles of the cuttle-fish from a peculiar ornament on the reverse1 a bird by the side of it4 ,from ,furtwngler-,lschcke1 ,mykenische ,vasen1 pl4 ,,iv41 #bd444444ad ,pl4 ,,ix4 ,fig4 #af4 ,late ,mycenean vase with ribbed handles from ,ialysos 7,rhodes73 ,london4 ,height #j1cd4 ,dark-brown glaze-colour 7in parts burnt red7 on yellow ground4 ,from ,furtwngler-,lschcke1 ,mykenische ,vasen1 pl4 ,,vi41 #cb4 ,fig4 #ag4 ,late ,mycenean vase with ribbed handles from ,rhodes3 ,munich #dg4 ,height #j1de4 ,brown1 partly red1 glaze-colour on yellow ground4 ,biga with driver and companion4 ,mnchener ,vasensammlung ,i41 p4 #f1 fig4 #g44444,to face page #af ,,chapter ,,ii43 ,,the ,,geometric ,,style3-- ,pl4 ,x4 ,fig4 #ah4 ,attic ,geometric ,amphora 7,dipylon class73 ,munich #a1bej4 ,height ,o1#ej4 ,from photo4 ,fig4 #ai4 ,geometric ,amphora1 said to come from ,melos1 probably ,attic 7,black ,dipylon73 ,munich4 ,height ,o1#gc4 ,mnchener ,jahrbuch1 #aiji1 ,,ii41 p4 #bjb1 fig4 #a44444bj ,pl4 ,,xi4 ,fig4 #bj4 ,upper half of a ,dipylon grave-vase3 ,athens1 ,collignon-,couve #bad4 ,height ,i1#bc4 ,from ,monumenti dell' ,istituto ,,ix41 pl4 #dj1 #a ,fig4 #ba4 ,frieze from the upper half of a bowl from ,thebes1 of which the rest is only decorated with stripes3 ,london4 ,from ,journal of ,hellenic ,studies1 #ahii1 pl4 #h44444bb ,pl4 ,,xii4 ,fig4 #bb4 ,rhodian ,geometric jug1 said to come from ,crete3 ,munich #dee4 ,height ,o1#bb4 ,mnchener ,vasensammlung ,i41 p4 #dd1 fig4 #eg ,fig4 #bc4 ,protocorinthinian ,geometric cup 7skyphos7 from ,greece3 ,munich4 ,height ,o1#ab4 ,mnchener ,jahrbuch1 #aiac1 ,i41 p4 #gh44444bf ,pl4 ,,xiii4 ,fig4 #bd4 ,attic ,geometric kylix from ,athens3 ,munich4 ,diameter ,o1#ah4 ,mnchener ,jahrbuch1 #aiac1 ,i41 p4 #gh4 ,,chapter ,,iii43 ,,the ,,seventh ,,century3-- ,fig4 #be4 ,cretan hydria from ,praisos3 ,candia4 ,height ,o1#cj4 ,from ,british ,school ,annual1 ,,ix41 pl4 #i;c ,fig4 #bf4 ,cretan jug from ,praisos3 ,candia4 ,height ,o1#cc4 ,white on glaze4 ,from ,b4,s4,a4 ,,ix41 pl4 #i;d44444#bh ,pl4 ,,xiv4 ,fig4 #bg4 ,cretan miniature jug with female head3 ,berlin #cjg4 ,height ,o1#aj4 ,from ,athenische ,mitteilungen1 #ahig1 pl4 #f ,fig4 #bh4 ,fragment of a jug from ,aegina3 ,athens4 ,nicole #hdh4 ,diameter ca4 #j1be4 ,athenische ,mitteilungen1 #ahig1 pl4 ,,viii444444,to face page #cj ,pl4 ,,xv4 ,fig4 #bi4 ,fragment of a plate from a grave at ,praisos3 ,candia4 ,original diameter ca4 #j1ce4 ,wrestle with a sea monster4 ,from ,b4,s4,a4 ,x41 pl4 ,,iii4 ,fig4 #cj4 ,krater of ,aristonothos3 ,rome1 ,palazzo dei ,conservatori4 ,height #j1cf4 ,from ,mlanges d',archologie et d'histoire1 #aiaa1 pl4 ,i444444#cb ,pl4 ,,xvi4 ,fig4 #ca4 ,protocorinthian lekythos3 ,london1 ,b4,m4 ,height #j1jg4 ,from ,journal of ,hellenic ,studies1 ,,xi41 pl4 ,i41 #b ,fig4 #cb4 ,protocorinthian lekythos1 said to come from ,corinth3 ,berlin #ccf4 ,height #j1jf4 ,from ,archologische ,zeitung1 #ahhc1 ,i4 ,fig4 #cc4 ,protocorinthian jug of post-,geometric style from ,aegina3 ,munich #bbe;a4 ,height #j1ah4 ,mnchener ,vasensammlung ,i41 p4 #aa1 fig4 #ag44444cd ,pl4 ,,xvii4 ,fig4 #cd4 ,protocorinthian lekythos1 said to come from ,thebes3 ,boston4 ,height #j1jg4 ,from ,american ,journal of ,archology1 #aijj1 pl4 ,,iv444444#cf ,pl4 ,,xviii4 ,figs4 #ce-g4 ,protocorinthian jug1 from the neighbourhood of ,rome3 ,rome1 ,villa di ,papa ,giulio4 ,height #j1bf4 ,from ,antike ,denkmler ,,ii41 pls4 #dd and #de44444ch ,pl4 ,,xix4 ,fig4 #ch4 ,protocorinthian or ,corinthian jug3 ,munich #bcd4 ,height #j1dd4 ,from photo4 ,fig4 #ci4 ,corinthian alabastron1 from ,greece3 ,cambridge1 ,fitzwilliam ,museum #cj4 ,height #j1bj4 ,from ,catalogue1 pl4 ,,iv4 ,fig4 #dj4 ,corinthian aryballos1 from ,greece3 ,cambridge1 ,fitzwilliam ,museum #cf4 ,height #j1bj4 ,from ,catalogue1 pl4 ,,iv444444#dj ,pl4 ,,xx4 ,fig4 #da4 ,animal frieze from an early ,corinthian jug3 ,munich #bbh4 ,mnch4 ,vasens4 ,i41 p4 #ab1 fig4 #ah ,fig4 #db4 ,animal frieze from a ,corinthian jug of wine-skin shape3 ,munich #bdf4 ,mnch4 ,vasens4 ,i41 p4 #af1 fig4 #bd44444,to face page #db ,pl4 ,,xxi4 ,fig4 #dc4 ,corinthian skyphos1 from ,samos3 ,boston4 ,height ,o1#jh4 ,from photo4 ,fig4 #dd4 ,scene from the late ,corinthian flask of ,timonidas1 from ,kleonai 7,peloponnese73 ,athens1 ,collignon-,couve #fbj4 ,height of vase #j1ad4 ,from ,athenische ,mitteilungen1 #aije1 pl4 ,,viii444444#dd ,pl4 ,,xxii4 ,fig4 #de4 ,pinax 7votive-tablet71 from ,corinth1 signed by ,timonidas3 ,berlin #hdf4 ,height #j1bb4 ,from ,antike ,denkmler ,i41 pl4 #h1 #ac ,fig4 #df4 ,frieze of an early ,phaleron jug1 from ,analatos 7,attica73 ,athens1 ,collignon-,couve #dfh4 ,from ,jahrbuch1 #ahhg1 pl4 #c44444df ,pl4 ,,xxiii4 ,figs4 #dg-h4 ,neck and body designs of an early ,attic ,amphora1 from ,athens3 ,athens1 ,collignon-,couve #feg4 ,height #a1bb4 ,from ,antike ,denkmler ,i41 pl4 #eg44444dh ,,pi4 ,,xxiv4 ,fig4 #di4 ,early ,attic ,amphora1 from ,piraeus3 ,athens1 ,collignon-,couve #fea4 ,height #a1aj4 ,from ,ephemeris1 #ahig1 pl4 #e ,fig4 #ej4 ,cycladic 7,euboic7 ,amphora3 ,stockholm4 ,height #j1ei4 ,from ,jahrbuch1 #ahig1 pl4 #g44444ej ,pl4 ,,xxv4 ,fig4 #ea4 ,jug with griffin's head1 from ,aegina3 ,london1 ,b4,m41 ,a #edg4 ,from photo444444#eb ,pl4 ,,xxvi4 ,fig4 #eb4 ,chief design on a 8,melian0 amphora1 from ,melos3 ,athens1 ,collignon-,couve #dge4 ,height of amphora #j1ie4 ,from ,conze1 ,melische ,tongefsse1 pl4 ,,iv444444#ed ,pl4 ,,xxvii4 ,fig4 #ec4 ,herakles and ,iole 787 on a 8,melian0 amphora1 said to come from ,crete3 ,athens1 ,collignon-,couve #dgg4 ,from ,ephemeris1 #ahid1 pl4 #ac ,fig4 #ed4 ,early ,rhodian jug1 from ,rhodes3 ,hague1 ,scheurleer ,collection4 ,height #j1bb4 ,from photo444444#ee ,pl4 ,,xxviii4 ,fig4 #ee4 ,rhodian jug3 ,munich #ddi4 ,height #j1cc4 ,mnch4 ,vasens4 ,i41 p4 #db1 fig4 #ed ,fig4 #ef4 ,late ,rhodian jug1 from ,rhodes3 ,munich #dej4 ,height #j1cc4 ,mnch4 ,jahrb41 #aiaa1 ,,ii41 p4 #bjj ,fig4 #eg4 ,euphorbos plate1 from ,rhodes3 ,london1 ,b4,m4 ,diameter #j1ch4 ,from ,photo444444,to face page #ef ,pl4 ,,xxix4 ,fig4 #eh4 ,late ,rhodian cauldron 7lebes71 from ,italy3 ,paris1 ,louvre4 ,height #j1ce4 ,from photo444444#eh ,pl4 ,,xxx4 ,fig4 #ei4 ,gorgon plate1 from ,rhodes3 ,london1 ,b4,m4 ,from ,j4,h4,s41 #ahhe1 pl4 #ei4 ,fig4 #fj4 ,sherd from ,naukratis3 ,oxford4 7,busiris' head painted red on white slip1 details by leaving the parts unpainted74 ,from ,j4,h4,s41 #aije1 pl4 ,,vi41 ,i4 ,fig4 #fa4 ,naukratite sherd found on the ,acropolis of ,athens3 ,athens1 ,acropolis #dej;a4 ,yellow1 red and white painting on bright ground4 ,from ,akropolisvasen ,i41 pl4 #bd44444fj ,pl4 ,,xxxi4 ,fig4 #fb4 ,amphora1 from ,rhodes 7,fikellura73 ,london1 ,b4,m41 ,a #acaa4 ,height #j1cd4 ,from ,mnchener ,archol3 ,studien1 p4 #cjj1 fig4 #bd4 ,fig4 #fc4 ,amphora 7,fikellura73 ,altenburg4 ,height #j1ca4 ,from ,bhlau1 ,nekropolen1 p4 #ef44444fb ,,chapter ,,iv43 ,,the ,,black-,,figured ,,style3-- ,pl4 ,,xxxii4 ,fig4 #fd4 ,two friezes of a ,corinthian krater1 from ,caere3 ,paris1 ,louvre ,e4 #fce4 ,height #j1df4 ,after photo4 ,fig4 #fe4 ,corinthian krater1 from ,corinth3 ,munich #cdd4 ,height #j1ca4 ,mnch4 ,jahrb41 #aiaa1 ,,ii41 p4 #bij1 fig4 #a444444gj ,pl4 ,,xxxiii4 ,fig4 #ff4 ,frieze of a ,corinthian krater1 from ,caere3 ,berlin #afee4 ,height #j1df4 ,from ,monumenti ,x41 pl4 #d1 #e44444gb ,pl4 ,,xxxiv4 ,fig4 #fg4 ,corinthian plate3 ,munich #cdf;a4 ,diameter #j1bh4 ,mnch4 ,vasens4 ,i41 p4 #ca1 fig4 #df ,fig4 #fh4 ,chalkidian hydria1 from ,italy3 ,munich #eif4 ,height #j1df4 ,from photo444444,to face page #gd ,pl4 ,,xxxv4 ,fig4 #fi4 ,chalkidian amphora1 from ,vulci3 ,wrzburg4 ,height #j1da4 ,from photo444444,to face page #gd ,pl4 ,,xxxvi4 ,fig4 #gj4 ,chalkidian amphora1 from ,caere3 ,london1 ,b4,m41 ,b #aee4 ,height #j1de4 ,from photo4 ,fig4 #ga4 ,scene from ,chalkidian amphora of ,italian provenance3 ,munich #eib4 ,mnch4 ,vasens4 ,i41 p4 #fe1 fig4 #ge444444gh ,pl4 ,,xxxvii4 ,fig4 #gb4 ,ionic eye kylix1 from ,italy3 ,munich #ehi4 ,height #j1aj4 ,from photo4 ,fig4 #gc4 ,head of ,athena1 from ,ionic eye kylix3 ,munich #eij4 ,mnch4 ,vasens4 ,i41 p4 #fd1 fig4 #gd444444hj ,pl4 ,,xxxviii4 ,fig4 #gd4 ,phineus kylix1 from ,vulci3 ,wrzburg4 ,diameter #j1ci4 ,from ,furtwngler-,reichhold #da444444hb ,pl4 ,,xxxix4 ,fig4 #ge4 ,ionic b4f4 fragments1 from ,kyme 7,asia ,minor73 ,london1 ,b4,m4 ,from photo4 ,fig4 #gf4 ,neck design of an ,ionic b4f4 ,amphora1 from ,italy3 ,munich #ehf4 ,mnch4 ,vasens4 ,i41 p4 #fb1 fig4 #gc444444hd ,pls4 ,,xl4-,i1 ,figs4 #gg-h4 ,obverse and reverse of an ,ionic b4-f4 ,amphora1 from ,italy3 ,munich #ehe4 ,from ,mnch4 ,vasens4 ,i41 p4 #ei1 figs4 #fi and #gj444444hf #hg ,pl4 ,,xlii4 ,fig4 #gi4 ,chief design on a ,caeretan hydria3 ,vienna1 ,museum fr ,kunst und ,industrie #bag4 ,from ,furtwngler-,reichhold #ea4 ,fig4 #hj4 ,spartan kylix1 from ,italy3 ,munich #chb4 ,height #j1ae4 ,from ,mnch4 ,vasens4 ,i41 p4 #cd1 fig4 #dh44444hh ,pl4 ,,xliii4 ,fig4 #ha4 ,caeretan hydria1 from ,caere3 ,paris1 ,louvre ,e #gja4 ,height #j1dc4 ,from photo444444#hi ,,xliv4 ,figs4 #hb-c4 ,obverse and reverse of a ,pontic amphora1 from ,italy3 ,munich #hcg4 ,height of vase #j1cc4 ,from ,furtwngler-,reichhold #ba444444ij ,pl4 ,,xlv4 ,fig4 #hd4 ,spartan kylix1 from ,corneto3 ,berlin4 ,from ,jahrbuch d4 ,d4 ,instatus #aija1 pl4 ,,iii4 ,pl4 ,,xlvi4 ,fig4 #he4 ,spartan kylix 7,arkesilas71 from ,vulci3 ,paris1 ,cabinet des ,mdailles #ahi4 ,diameter #j1bi4 ,from ,monumenti ,i41 pl4 #dg ,pl4 ,,xlvii4 ,fig4 #hf4 ,fragments of a cauldron 7lebes7 by ,sophilos3 ,athens1 ,acropolis4 ,grf #ehg4 ,height of the frieze #j1ji4 ,from ,grf1 ,akropolisvasen1 pl4 #bf ,fig4 #hg4 ,attic tripod vase1 from ,athens3 ,munich4 ,height #j1ab4 ,from ,mnch4 ,jahrb41 #aiaa1 ,,ii41 p4 #bia1 fig4 #e444444id ,pl4 ,,xlviii4 ,fig4 #hh4 ,boeotian b4-f4 kantharos3 ,munich #dai4 ,height #j1ai4 ,from ,mnch4 ,vasens4 ,i41 p4 #dj1 fig4 #eb ,fig4 #hi4 ,detail of the ,franois vase4 ,from ,furtwngler-,reichhold1 #ac44444if ,pl4 ,,xlix4 ,fig4 #ij4 ,franois vase1 from ,chiusi3 ,florence1 ,museo archeologico4 ,height #j1ff4 ,from ,furtwngler-,reichhold1 pl4 #c1 #aj44444ih ,pl4 ,l4 ,fig4 #ia4 #8,little ,master' kylix1 from ,vulci3 ,munich1 ,jahn #cf4 ,height #j1ae4 ,from photo4 ,fig4 #ib4 ,attic b4-f4 kylix with knob handles3 ,boston4 ,from photo444444#ajj ,pl4 ,,li4 ,fig4 #ic4 ,interior of an eye kylix of ,exekias1 from ,vulci3 ,munich1 ,jahn #cci4 ,diameter #j1cj4 ,from ,gerhard1 ,auserlesene ,vasenbilder ,i41 pl4 #di44444ajb ,pl4 ,,lii4 ,fig4 #id4 ,scene from an ,attic b4-f4 ,amphora1 from ,vulci3 ,berlin #afhe4 ,height of vase #j1di4 ,from ,gerhard1 ,etruskische und ,kampanische ,vasenbilder1 pl4 #ba44444ajd ,pl4 ,,liii4 ,fig4 #ie4 ,scene from an ,attic b4-f4 ,amphora1 probably from ,vulci3 ,wrzburg1 ,urlichs #cca4 ,from photo444444#aje ,pl4 ,,liv4 ,fig4 #if4 ,amphora of ,exekias1 from ,vulci3 ,rome1 ,museo ,gregoriano1 ,helbig #abbj4 ,height of vase #j1hj4 ,from photo4 ,fig4 #ig4 ,attic b4-f4 necked ,amphora1 from ,italy3 ,munich4 ,height #j1dj4 ,from photo444444,to face page #ajf ,pl4 ,,lv4 ,fig4 #ih4 ,necked ,amphora of ,amasis3 ,paris1 ,cabinet des ,mdailles #bbb4 ,height #j1cc4 ,from photo4 ,fig4 #ii4 ,detail from interior of a cauldron of ,exekias1 from ,caere3 formerly ,castellani ,collection1 ,rome4 ,from ,wiener ,vorlegebltter1 #ahhh1 pl4 #e1 #c b44444#ajg ,pl4 ,,lvi4 ,fig4 #ajj4 ,chief scene on a late b4-f4 hydria1 from ,vulci3 ,berlin1 #ahig4 ,height of vase #j1dd4 ,from ,gerhard1 ,auserlesene ,vasenbilder ,,iv41 pl4 #bdi-ej44444ajh ,pl4 ,,lvii4 ,fig4 #aja4 ,attic vase in shape of negro's head with late b4-f4 decoration of neck3 ,boston4 ,from photo4 ,fig4 #ajb4 ,panathenaic ,amphora1 from ,vulci3 ,munich1 ,jahn #fee4 ,height #j1fb4 ,from photo444444#aaj ,,chapter ,v43 ,,the ,,red-,,figured ,,style ,,in ,,the ,,archaic ,,period3-- ,pl4 ,,lviii4 ,fig4 #ajc4 ,scene on an ,amphora in the style of the ,andokides painter1 from ,vulci3 ,munich1 ,jahn #chh4 ,height #j1ece4 ,from ,furtwngler-,reichhold #d44444aad ,pl4 ,,lix4 ,fig4 #ajd4 ,amphora of the potter ,pamphaios 7,nikosthenes' shape71 from ,etruria3 ,paris1 ,louvre ,g #b4 ,height #j1ch4 ,from photo444444#aaf ,pl4 ,,lx4 ,fig4 #aje4 ,scene on an ,amphora of ,euthymides1 from ,vulci3 ,munich1 ,jahn #cgh4 ,height #j1fj4 ,from ,furtwngler-,reichhold #ad4 ,fig4 #ajf4 ,shoulder scene on a hydria of ,hypsis1 from ,vulci3 ,rome1 ,torlonia ,collection4 ,from ,antike ,denkmler ,,ii41 pl4 #h44444aag ,pl4 ,,lxi4 ,fig4 #ajg4 ,detail of ,amphora of ,euthymides1 from ,vulci3 ,munich1 ,jahn #daj4 ,from photo4 ,fig4 #ajh4 ,detail from interior of an archaic r4-f4 kylix1 from ,orvieto3 ,boston4 ,from photo444444#aah ,pl4 ,,lxii4 ,fig4 #aji4 ,rhyton 7in shape of a horse's head7 with r4-f4 decoration of neck3 ,boston4 ,from photo444444,to face page #aai ,pl4 ,,lxiii4 ,fig4 #aaj4 ,interior of a kylix by ,skythes1 from ,caere3 ,rome1 ,villa di ,papa ,giulio4 ,diameter of interior ,o1#aj4 ,from ,monuments ,piot ,,xx41 pl4 #g44444abj ,pl4 ,,lxiv4 ,fig4 #aaa4 ,interior of a kylix by ,epiktetos1 from ,vulci4 ,london1 ,b4,m41 ,e4 #ch4 ,from ,furtwngler-,reichhold #gc1 #a44444aba ,pl4 ,,lxv4 ,fig4 #aab4 ,part of the design on the psykter of ,euphronios1 from ,caere4 ,petrograd1 ,hermitage1 #afgj4 ,from ,furtwngler-,reichhold #fc44444abb ,pl4 ,,lxvi4 ,fig4 #aac4 ,obverse of a kalyx-krater of ,euphronios1 from ,caere4 ,paris1 ,louvre ,g #ajc4 ,height of krater ,o1#df4 ,from ,furtwngler-,reichhold #ib44444abc ,pl4 ,,lxvii4 ,fig4 #aad4 ,kylix signed by the potter ,sosias1 from ,vulci3 ,berlin #bbgh4 ,diameter #j1cb4 ,from photo444444#abd ,pl4 ,,lxviii4 ,fig4 #aae4 ,interior of a r4-f4 kylix1 from ,caere3 formerly ,branteghem ,collection1 now ,london1 ,b4,m41 ,e #df4 ,from ,hartwig1 ,griechische ,meisterschalen1 pl4 ,,viii444444#abe ,pl4 ,,lxix4 ,fig4 #aaf4 ,interior of a kylix of ,brygos1 from ,vulci3 ,wrzburg1 ,urlichs 7#ahgb7 #cdf4 ,from photo444444#abf ,pl4 ,,lxx4 ,fig4 #aag4 ,detail of an archaic r4-f4 pointed amphora1 from ,vulci3 ,munich1 ,jahn #djh4 ,from ,photo4 ,pl4 ,,lxxi4 ,figs4 #aah-i4 ,exteriors of a kylix of ,brygos3 ,paris1 ,louvre4 ,from ,furtwngler-,reichhold #be44444abh ,pl4 ,,lxxii4 ,fig4 #abj4 ,r4-f4 skyphos1 from ,italy3 ,vienna1 ,museum fr ,kunst und ,industrie #cbh4 ,from photo4 ,fig4 #aba4 ,exterior of a kylix1 from ,corneto3 ,corneto4 ,from ,monumenti ,,xi41 pl4 #bj44444abi ,pl4 ,,lxxiii4 ,fig4 #abb4 ,scene on a psykter of ,duris1 from ,caere3 ,london1 ,b4,m41 ,e4 #gfh4 ,height of vase ,o1#bi4 ,from ,furtwngler-,reichhold #dh44444acj ,pl4 ,,lxxiv4 ,fig4 #abc4 ,kylix of ,hieron1 from ,vulci3 ,berlin #bbij4 ,diameter ,o1#cc4 ,from photo444444#aca ,pl4 ,,lxxv4 ,fig4 #abd4 ,kylix of ,duris1 from ,caere3 ,berlin #bbhe4 ,diameter #j1bh4 ,from photo4 ,fig4 #abe4 ,r4-f4 kylix1 from ,vulci3 ,berlin #bbid4 ,diameter #j1cj4 ,from photo4 44444,to face page #acb ,pl4 ,,lxxvi4 ,fig4 #abf4 ,interior of a r4-f4 kylix1 from ,vulci3 ,munich1 ,jahn #cfh4 ,diameter #j1cje4 ,from ,furtwngler-,reichhold #hf4444444acc ,,chapter ,,vi43 ,,the ,,style ,,of ,,polygnotos ,,and ,,pheidias4 ,pl4 ,,lxxvii4 ,fig4 #abg4 ,figure on a skyphos of ,pistoxenos1 from ,caere3 ,schwerin4 ,from ,jahrbuch des ,d4 ,instituts #aiab1 pl4 #f ,fig4 #abh4 ,detail of a fragmentary white-ground lekythos1 from ,attica3 ,bonn4 ,from ,j4,h4,s4 #ahif1 pl4 #d44444acd ,pl4 ,,lxxviii4 ,fig4 #abi4 ,kylix with white-ground interior1 from ,rhodes3 ,london1 ,b4,m4 ,d #b4 ,diameter #j1bd4 ,from photo4 ,fig4 #acj4 ,detail of a r4-f4 krater3 ,new ,york4 ,from photo444444#ace ,pl4 ,,lxxix4 ,fig4 #aca4 ,obverse of a r4-f4 krater1 from ,sicily 7873 ,boston4 ,height of vase #j1cf4 ,from ,furtwngler-,reichhold #aae1 #a44444acf ,pl4 ,,lxxx4 ,fig4 #acb4 ,fragmentary r4-f4 psykter1 from ,falerii3 ,rome1 ,villa di ,papa ,giulio4 ,from photo4 ,fig4 #acc4 ,interior of a kylix1 of the potter ,hegesibulos3 ,brussels3 ,mnch4 ,jahrb4 #aiac1 ,,ii41 p4 #hi44444ach ,pl4 ,,lxxxi4 ,fig4 #acd4 ,interior of a r4-f4 kylix1 from ,etruria3 ,munich1 ,jahn #cgj4 ,diameter #j1dbe4 ,from ,furtwngler-,reichhold #f44444aci ,pl4 ,,lxxxii4 ,fig4 #ace4 ,obverse of a r4-f4 kylix-krater1 from ,orvieto3 ,paris1 ,louvre ,g #cda4 ,height of vase #j1ee4 ,from ,furtwngler-,reichhold #ajh44444adj ,pl4 ,,lxxxiii4 ,figs4 #acf-g4 ,design on lid and sides of a pyxis of ,megakles3 ,bibliothque ,royale1 ,brussels4 ,height #j1jfc4 ,diameter #j1jhe4 ,from ,frhner1 ,coll4 ,barre1 pl4 ,,vii4 ,fig4 #ach4 ,detail of a r4-f4 pointed amphora3 ,paris1 ,cabinet des ,mdailles #ceg4 ,from ,furtwngler-,reichhold1 pl4 #gg1a44444,to face page #adb ,pl4 ,,lxxxiv4 ,fig4 #aci4 ,scene on a r4-f4 pelike1 from ,rugge 7,apulia73 ,lecce4 ,from ,furtwngler-,reichhold 44444#ff ,fig4 #adj4 ,scene on a r4-f4 krater1 from ,gela3 ,berlin4 ,height of vase #j1ej4 ,from #ej ,berliner ,winckelmannsprogramm 7#ahij744444adc ,pl4 ,,lxxxv4 ,fig4 #ada4 ,r4-f4 ,amphora1 from ,vulci3 ,london1 ,b4,m41 ,e #bga4 ,height #j1eg4 ,from photo444444#add ,pl4 ,,lxxxvi4 ,fig4 #adb4 ,white-ground lekythos1 from ,attica3 ,london1 ,d #eh4 ,height ca4 #j1dh4 ,from photo444444#ade ,pl4 ,,lxxxvii4 ,figs4 #adc-d4 ,youth and maiden on a white-ground lekythos1 from ,attica3 ,boston #hddj4 ,height of vase1 #j1dj4 ,from photo4 ,fig4 #ade4 ,detail of a white-ground lekythos3 ,athens1 ,collignon-,couve #ahbb4 ,from ,furtwngler-,riezler1 ,weissgrundige ,lekythen1 pl4 #ic44444adf ,pl4 ,,lxxxviii4 ,fig4 #adf4 ,r4-f4 stamnos1 from ,vulci3 ,munich1 ,jahn #chb4 ,height #j1dde4 ,from photo4 ,fig4 #adg4 ,scene on a r4-f4 stamnos1 from ,campania3 ,naples1 ,heydemann #bdai4 ,from photo444444#adh ,pl4 ,,lxxxix4 ,fig4 #adh4 ,scene on a r4-f4 ,amphora1 from neighbourhood of ,arezzo3 ,arezzo4 ,height of vase #j1ed4 ,from ,furtwngler-,reichhold1 pl4 #fg44444adi ,pl4 ,,xc4 ,figs4 #adi-ea4 ,three details of a fragmentary r4-f4 vase3 ,naples4 ,from three photos1 in the ,munich ,vase ,collection44444#aej ,pl4 ,,xci4 ,fig4 #aeb4 ,scene on a r4-f4 hydria1 from ,populonia3 ,florence4 ,height of vase #j1df4 ,from ,milani1 ,monumenti scelti1 pl4 #d44444aea ,pl4 ,,xcii4 ,fig4 #aec4 ,r4-f4 volute amphora1 from ,ruvo3 ,ruvo1 ,jatta ,collection #aeja4 ,height of frieze #j1ce4 ,from ,furtwngler-,reichhold #ch444444aeb ,pl4 ,,xciii4 ,fig4 #aed4 ,scene on a r4-f4 jug3 ,oxford4 ,height of vase #j1ba4 ,from ,j4,h4,s4 #aije1 pl4 #a4 ,,chapter ,,vii43 ,,late ,,offshoots3-- ,fig #aee4 ,scene on a late ,attic pelike1 from ,kerch 7,crimea73 ,petrograd1 ,hermitage #agie4 ,height #j1ch4 ,from ,furtwngler-,reichhold #hg1b444444,to face page #aed ,pl4 ,,xciv4 ,fig4 #aef4 ,lucanian bell-krater1 from the ,basilicata3 ,paris1 ,louvre4 ,height #j1ec4 ,from photo4 ,fig4 #aeg4 ,lower ,italian bell-krater with comedy scene 7,phlyax vase71 from ,apulia4 ,london1 ,b4,m41 ,f4 #aea4 ,height of vase #j1ci4 ,from photo444444#aef ,pl4 ,,xcv4 ,fig4 #aeh4 ,apulian volute amphora1 from ,bari3 ,boston4 ,height #a1be4 ,from photo444444#aeg ,pl4 ,,xcvi4 ,fig4 #aei4 ,late ,attic kalyx-krater1 from ,greece3 ,munich4 ,height #j1da4 ,from ,mnch4 ,jahrb41 #aiac1 #a41 p4 #gi ,fig4 #afj4 ,hellenistic cup with designs painted in white3 ,munich4 ,height #j1ji4 ,from ,mnch4 ,jahrb41 #aiji1 ,,ii4 p4 #bjd1 fig4 #h444444aeh ,,index ,,of ,,names ,the names of painters and potters are printed in italics4 ,all are ,athenian1 unless it is otherwise stated4 ,achaeans1 #af4 ,achilles1 #df1 #fe1 #fh1 #abe1 #abh1 #abi1 #aci1 #aeg4 ,acropolis 7of ,athens71 #ii1 #ajc1 #aaj1 #aad1 #aae1 #abb1 #acg1 #aec4 ,acropolis sculptures1 #ej4 ,adonis1 #aeb4 gean ,sea1 #ag4 gina1 #f1 #ad1 #bf1 #cb1 #db1 #di1 #ej1 #eb1 #ec1 #fj4 olians1 #ag4 olis1 #ij4 ,africa1 #hi1 #ib4 ,aias1 #fh1 #gi1 #aef4 ,aison1 #aea4 ,aktaion1 #acg4 ,alabastron1 #dd4 ,alexandria1 #aaj1 #aei4 ,alkmaion1 #gc4 ,altenburg1 amphora at1 #fa1 #hd4 ,amasis1 #ig1 #ajb1 #ajc1 #aje1 #ajf1 #ajg1 #ajh1 #aac1 #aaf1 #abg1 #acf1 #adc4 ,amazons1 #ge1 #ha1 #hd1 #aci1 #ada4 ,amphiaraos1 #fg1 #ga1 #gb1 #gc1 #adc1 #add4 ,amphitrite1 #abf4 ,amphora1 #bd1 #di1 #eb1 #ed1 etc42 7big-bellied71 #ej1 #gd1 #ajd2 7necked71 #ea1 #gd2 7pointed71 #abf1 #abg2 7,nolan71 #abg1 #acf2 7with twisted handles71 #adi2 7,panathenaic71 #ii1 #aaj1 #abg1 #aec4 ,anakreon1 #aad1 #ace4 ,andokides1 #eh1 #ajh1 #aji1 #aad1 #aae1 #aag1 #aah1 #abj1 #aba4 #8,andokides' painter1 #aae1 #aca4 ,antaios1 #abc1 #abd1 #abe1 #abf4 ,antenor 7sculptor71 #aab1 #aca4 ,aphidna 7,attica71 #f4 ,aphrodite1 ,temple of1 #db4 ,aphrodite1 #ace1 #acg1 #aeb4 ,apollo1 #be1 #ed1 #ee1 #fe1 #aci4 ,apulia1 #aef4 ,apulian vases1 #aeg4 ,arezzo1 amphora at1 #adi4 ,argive alphabet1 #ei4 ,argolid1 ,the1 #e1 #f1 #g1 #ab1 #ai1 #bf1 #cc1 #db4 ,argonaut ,master1 ,the1 #adj-b4 ,argonauts1 ,the1 #adj1 #adg4 ,argos 7giant71 #hf4 ,argos 7town71 #ad1 #bf1 #cc4 ,ariadne1 #bb1 #abi4 ,aristagoras 7kalos71 #acj4 ,aristonothos 78 ,aristonoos1 perhaps ,argive71 #cc1 #ch4 ,aristophanes1 #aea4 ,arkesilas1 king1 #ib4 ,artemis1 #ee1 #acg4 ,artemis the ,persian1 #ed4 ,aryballos1 #dd1 #adb1 #aeh4 ,asia ,minor1 #e1 #f1 #ae1 #ag1 #ai1 #db1 #ee1 #hj1 #hg1 #aja4 ,assarlik1 #ai4 ,assteas 7,campanian painter71 #aef4 ,astyanax1 #fe4 ,athena1 #di1 #fe1 #ff1 #fg1 #fh1 #ga1 #ha1 #ii1 #ajj1 #ajf1 #aaj1 #abf1 #adg1 #aec4 ,athenodotos 7kalos71 #abf4 ,athens1 #ai1 #ea1 #if1 #ii1 #ajf1 #aaa1 #aba1 #aeg4 ,athens1 ,vases in1 #aci1 #adg1 #adi4 ,attica1 #f1 #be1 #db1 #ea4 ,barbotine1 #h4 ,beaked jug1 #e4 ,bellerophon1 #ci1 #dj1 #fd4 ,berlin amphora1 ,master of the1 #aca4 ,berlin1 ,vases in1 #ib1 #ajd1 #aji1 #acj1 #aca1 #acc1 #acd1 #ace1 #aci4 ,black ,sea1 #bh1 #ef1 #hi1 #aeh4 ,boeotia 7,boeotians71 #b1 #bb1 #bf1 #db1 #eb1 #fj1 #id1 #if1 #aaj1 #aee4 ,bonn1 ,vases in1 #aai1 #acd1 #ace4 ,boreas1 #hb4 ,boreas1 ,sons of1 #hb4 ,boston1 ,vases in1 #de1 #ajj1 #abf1 #acj1 #ace1 #acg1 #adf1 #adg1 #aeg4 ,bowl 7,schssel71 #bb1 #ff4 ,bronze ,age1 #b1 #c1 #d4 ,bronze-foundry ,master1 #aca4 ,brygos painter1 #abh1 #abi1 #aca1 #aci4 ,bucchero ware1 #ij4 ,busiris 7,pharaoh71 #hi4 ,butades 7,sicyonian71 #fi4 ,cable pattern 7,guilloche71 #cj1 #ce4 ,caere1 #db1 #fh4 ,caeretan hydriae1 #hg-i1 #ajg4 ,campania1 #aef4 ,carthage1 #db4 ,castle ,ashby1 ,amphora at1 #hf1 #hg4 ,centaurs1 #bb1 #ci1 #hf1 #hi1 #ih1 #abh1 #adj1 #aej4 ,centauromachy1 #ia1 #acj4 ,chairestratos 7kalos71 #abf1 #abg1 #abi4 ,chalkidian style1 #fi1 #gj1 #ge-hj1 #id1 #if1 #ig1 #ajj1 #ajd1 #aje1 #ajf1 #ajg1 #aah4 ,chalkis1 #ga1 #ge1 #gf1 #gg1 #hj1 #id1 #if1 #ii1 #ajj1 #aje1 #ajf1 #ajh4 ,chares 7,corinthian painter71 #de4 ,charitaios1 #aja1 #ajc4 ,chelis1 #aba4 ,chigi jug1 #ch1 #dj1 #de1 #ei1 #ff4 ,chimaera1 ,the1 #ci1 #dj4 ,circe1 #ajj1 #adf4 ,corfu1 #dd4 ,corinth1 #bf1 #cd1 #db1 #ej1 #ef1 #fi1 #gj1 #ij1 #id1 #ajj4 ,corinthian style1 #dc1 #ej1 #gj-ge1 #ij1 #id1 #if4 ,corneto1 ,vases in1 #abc1 #abi4 ,cretans1 #aj1 #ab1 #cd4 ,crete1 #a1 #b1 #ac1 #ad1 #ae1 #af1 #ag1 #ai1 #bg1 #cc1 #ee4 ,cyclades1 #ae1 #be1 #id4 ,cycladic 7pottery1 etc471 #e1 #f1 #be1 #eb1 #ed1 #hj4 ,cyprus1 #e1 #f1 #ad1 #ae1 #ag1 #bf4 ,cyrene1 #ib4 #8,daedalic' types1 #cd4 ,daedalus1 #ca4 ,daphne1 #hf4 ,deianeira1 #cd4 ,deiniades1 #aai1 #abc4 ,delian 7or ,euboic7 ware1 #ec1 #ha4 ,delos1 #be1 #ed1 #ee1 #ih4 ,delphi1 #bf4 ,delta1 ,the1 #ef1 #ei4 ,demeter1 #ace4 ,dimini1 #b4 ,diomede1 #gi4 ,dionysos1 #ff1 #hb1 #if1 #ig1 #ajj1 #ajf1 #ajh1 #adh1 #adi4 ,dipylon 7,athens71 #a1 #bd1 #bg1 #ce4 ,drpfeld 7,wilhelm71 #d4 ,dorians1 ,the1 #ag1 #ai4 ,duris1 #abj1 #abf1 #abi1 #acj1 #aca1 #aci4 ,egypt1 #i1 #ae1 #hc4 ,egyptian1 #hi4 ,eleusis1 #f1 #be1 #bf4 ,eos1 #acj1 #ace4 ,ephesian sculpture1 #hh4 ,epiktetos1 #ajh1 #aad1 #aba1 #abb1 #abc1 #abd4 ,epilykos 7kalos71 #abj-c4 ,eretria1 #be1 #eb1 #id4 ,eretria master1 ,the1 #adh1 #aeb1 #aec4 ,erginos1 #aea4 ,ergoteles1 #aja4 ,ergotimos1 #ig1 #ajj1 #aja1 #ajc4 ,eriphyle1 #gc1 #adc1 #add4 ,ethos1 #acc1 #adb4 ,etruria1 #ij1 #ia1 #id1 #ii1 #aef4 ,etruscan1 #a1 #ce1 #ij4 ,euboea1 #be1 #eb4 ,euboic 7or ,delian7 ware1 #ec4 ,eucheiros1 #aja4 ,eumares1 #aaa1 #aab4 ,euphorbos plate1 #eh4 ,euphrates1 ,the1 #ab4 ,euphronios1 #ah1 #aji1 #aad1 #aaf1 #aag1 #abj1 #abb-i1 #aca1 #acc1 #acd1 #ace1 #aci4 ,europa1 #fh1 #hh4 ,eurytios1 #gb1 #gi1 #ig4 ,euthymides1 #aad1 #aaf-i1 #abb1 #abc1 #abe1 #abg4 ,euxitheos1 #aag1 #abc4 ,exekias1 #fh1 #aja1 #ajb1 #ajc1 #aje1 #ajg1 #ajh1 #aac1 #aae4 ,face urns1 #d4 #8,fates1' ,the1 #aeb4 ,fibulae1 #bb4 ,fikellura 7,samian7 ware1 #fj-b1 #hc1 #aaf4 ,flamed ware1 #g4 ,florence1 ,vase in1 #ig4 ,franois vase1 #ga1 #ie1 #if1 #ig-i1 #ajj1 #aja1 #ajc1 #ajd1 #ajh4 ,funnel vase1 #ab4 ,furtwngler1 ,adolf1 #bj1 #fd4 ,gales1 #aad4 ,ge1 #aci4 ,gela1 #adc1 #add4 ,geometric style1 #af1 #ag1 #ah1 #ai1 #bj1 #bb-h1 #bi1 #ca1 #da1 #ed1 #ef1 #fi1 #ace1 #add4 ,geryon1 #gh1 #gi4 ,gigantomachia1 #aej4 ,glaukon1 son of ,leagros 7kalos71 #aad1 #abd1 #acj1 #acc1 #acd1 #ace1 #acg1 #ach1 #ade4 ,gnathia vases1 #aeg4 ,gorgon1 #dd1 #ej1 #eh1 #aja4 ,gorgon lebes1 #di1 #ff1 #ig1 #ajj4 ,griffin head jug1 #ec4 ,hadra vases1 #aaj4 ,halimedes1 #gc4 ,hamilton1 ,sir ,william1 #a4 ,harpies1 #ej1 #hb4 ,head1 ,vases in shape of1 #abj1 #adb 7,figs4 #aja1 #aji74 ,hector1 #ei1 #aah1 #abi4 ,hegesibulos1 #adb4 ,helen1 #bb1 #bc1 #aah4 ,helios1 #aej4 ,hellenistic painting1 #aei4 ,hephaistos1 #ff1 #fg1 #ga1 #hh1 #ih4 ,herakles1 #ci1 #ej1 #ed1 #fj1 #fd1 #fe1 #ff1 #fg1 #ga1 #gb1 #ge1 #gi1 #hi1 #ii1 #aae1 #aaf1 #abc1 #abd1 #abf4 ,hermes1 #dj1 #di1 #hf1 #hh1 #ade4 ,hermogenes 7kalos71 #acj4 ,hermonax1 #adc4 ,heron1 #aeg4 ,hesiod1 #bb4 ,hetairai1 #aaf1 #aai1 #abj1 #abc1 #adf4 ,hieron1 #aca1 #ace4 ,hipparchos 7kalos71 #aji1 #aad4 ,hippodamas 7kalos71 #abg1 #acj4 ,hippodameia1 #adi4 ,hischylos1 #aja1 #aba1 #abb4 ,hissarlik 7,troy71 #d4 ,homer1 #af1 #bb4 ,homeric poems1 #ag1 #ga1 #ace 7see ,iliad and ,odyssey74 ,horse master1 #abh1 #acc1 #acg1 #ach1 #aci4 ,hydria1 #fg1 #gd1 #ajh1 #aji1 #aai4 ,hygieia1 #aeb4 ,hymettos1 #dh4 ,hymn 7,homeric71 #ee4 ,hypsis1 #aai1 #abe4 ,ida1 ,mt41 #h4 ,iliad1 ,the1 #ei1 #fe1 #abe1 #adg4 ,iliupersis1 #fg1 #ajd1 #abh4 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