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WHAT IS THE NATURE OF THE RELATIONSHIP BETWEEN CORINTHIAN AND ATHENIAN…

- - - - hoplite phalanx formation, earliest depiction
        
        fighting
        
        aristocratic and show of power
        
        spears - not consistent with what known
      - one of few among protoCorinthian in which human figure is dominant 4, 59
        
        'Here is in fact only one animal in the major friezes that is outside any narrative context: the winged sphinx, this, but - another probable 'first' - one of the double-bodied monsters (the left half is mostly missing) often seen at Corinth from now on.' 4, 60
      - fragmentary scene of judgement of Paris, featuring Hera, Athena, Aphrodite
        
        here with his alternative name of Alexander
      - parade of horsemen led by charioteer
        
        whether we are still in the realm of myth here or of everyday life is uncertain, as is also the case with the upper frieze, though there the depiction of armour and battle formation is contemporary. 4, 62
        
        latter scene - ambitious composition of cleverly overlapping massed soldiers and detail - intricate shield emlems to cheek-strap of piper 4, 62
        
        gorgoneion (Gorgon's head) on one of the shields.
      - bottom - pursuit of hares on foot - Athenian life
        
        reeds and stylised thickets - recalls Egyptian and Phoenician hunting scenes 4, 62
        
        unusual consideration for the natural settin - perhaps inspired by Near Eastern art 4, 62
      - pointed-nose Assyrian lion
    - - white but flaked off - accent the brown flesh wash, against black areas of vase
        4, 59
        
        floral designs on rotelles, neck, top of shoulder 4, 59
        
        band of dogs, deer, wild goats
        between upper and middle friezes 4, 59
      - lion is Assyrian style 4, 61
        
        human-mauled-by-lion is commonplace in Near East on ivories 4, 61
        
        'but with the figures of the huntsmen, who are more animated and intent on their task thany any of their Eastern counterparts, the vase-painter has lifted the narrative above the level of mere Oriental grisliness.' 4, 61
  - - - 'Such elements may not be dominant in the decoration of this vase, but earlier they had been the trigger for the Protocorinthian style; and they are ideas borrowed from the Near East, especially from Phoenicia and North Syria, which in turn were in close touch with Egypt and narrative art.' 4, 63
      - 'The new interest in the East (or rather, renewed, as there had been close contact in the Bronze Age) was one facet of the expansionist movement that began in the eight century B. C. and resulted in the foundation of Greek colonies around the whole Mediterranean basin.' 4, 63
        
        Evelyn painter, Protocorinthian aryballos, 700 BC, 25 - shows new style
        4, 63/4
        
        outline drawing, silhouette, flecks of incision on the deer
  - - - upper
        
        phalanx and pipe player, one rank running to join, one still arming
      - middle
        
        procession of horse-men, a hunting scene of lions
        
        Eastern, and aristocratic, an Assyrian lion - they wouldnt have seen that
        
        2 sphinxes - orientalism motif
        
        huntsman in jaws, bleeding alot
        
        one of earliest mythological scenes under handle
        
        one of earliest to be inscribed with names
        
        Alexandros
        
        west Greek alphabet
        
        vs other Corinthian script example - krater
        
        Sicilian
        
        not a protocorinthian vase?
        
        a unique vase?
        
        immigrant painter?
        
        3 goddesses competing to be most beautiful
        
        Aphrodite
        
        Athanaea
    - - tanned brown skin
      - brown to distinguish pipes player
        
        also space between tightly-packed crowds and pipe-player
  - - - relatively common (and only really existing at this time) brown wash 4, 59
  - - - painted metopes of Thermon - close in style and colour scheme, also fired on clay 4, 68
- - - - inspired by bronze vases*
        
        used for wine
  - - - potter Ergotimos
      - painter Kleitias
    - - takes advantage of potentiality of narrative individualisation and suggestion
        
        dead on ground and figures one in front of other either side of Calydonian boar
        
        also can emphasise movement more subtley and attentatively
  - - - wedding of Peleus and Thetis
      - Caledonian boar hunt
        
        top neck band
        
        Peleus, Meleager, Melanion
        
        "The François Vase, in fact, may be the ﬁrst, and like so much else about this vase, is innovative not only in the composition of the Calydonian Boar Hunt but also in how this theme ﬁts into the overall decoration of the vase. " 3, 154
        
        boar transfixed by 4 arrows
        
        white dog biting its neck
        
        fallen Ankeios
        
        all wear short tunics and animal skins
        
        disembowled dog
        
        ehmpasises violence and emotion
      - chariot race of Patroclos
      - fountain horse
      - (arriving) boat, Athenians and dancers
      - centauromachy
      - return of Hephaistos to Olympus
      - Artemis, Achilles, Ajax on handle
      - Phaidemos jumping overboard
        
        triakonter ship
        
        30-oared gallery, Theseus used to sail to Crete
      - 6 mythological scenes
      - Dioskouri + Atalanta - top neck band (reverse)
      - Dionysus with amphora slung over shoulder
        
        parallel with Chiron 3, 163
      - return of Hephaistos
      - Artemis as Pontia Theron on handles - Eastern
        
        panther, stag, one male lion, one female lion
      - Ajax carries Achilles' corpse
        
        Achilles appears alive and dead
    - - agree peripheral but notable prescence and synthesis of Eastern elements, parallelism of Homeric and traditional mythological imagery, does not repurpose the sphinxes to explicitly Greek narrative, in parts appears to do the opposite, such as adding non-Greek elements to Greek-named characters
        
        agree forging narrative focus, especially based around identity - inscriptions add to narrative and carry element of rememberence
        
        agreeconsidering narrative wieght of objects held by chracters - i.e. Ariadne with thread and wreathe to signify Theseus out of the Labyrinth, this complication significant
        
        Kimmeros archer
    - - parodies Homeric battles 3, 164
  - - - Geranos (crane dance) of Theseus and Athenian youths, escapining from Crete
        
        evidence that place of dance is at Crete and not Delos as Plutarch says?
        
        top neck band
        
        celebration after Theseus' defeat of Minotaur at Knossos
      - below
        
        Batlle of Lapiths and Centaurs
        
        lower neck band
        
        only instance of Theseus fighting with Lapiths (in Attic pottery)
        
        left: centaurs (Hylaios, Agrios, Hasbolos) versus warrior Kaineus
        
        middle: Petraios (centaur) vs Hoplon (Lapith)
        
        right: Melancites (centaur) fighting a Lapith with rocks, and a likely dead centaur
        
        right: Apollo goes to fountainhouse with raised hand, Trojan boy puts hydria under spout*, Rhodia, Thetis, Hermes, Athena (back)
  - - - Scythians depicted as accompanying Greek heroes, and depiction of Achilles' burial and death with the Scythians 3, 158
        
        underscore Atalante's exoticism? 3, 158
        
        often depicted as an Amazon or in eastern clothin
  - - - agree: Calendonian boar in centre between handles, reinforced by vertical bands and stationary sphinx detail
  - - - agree: insofar as introduces some new* subversive elements [and combinations] which prompt reconsideration (although affected by retroactive reading) - vase follows a conceit in quite a novel, detailed, complex way
    - - literal, metaphorical, allusive, 3, 154
      - "
        In the case of the François Vase, Klei-tias, not surprisingly, does something unusual. He borrows Corinthian motifs of hunt and animal friez-es, but inserts and multiplies miniaturist friezes with mythological themes between them. By repeating the sphinxes in the two registers – Calydonian Boar Hunt above and animal hunts below – the artist in-vites the viewer to draw a thematic parallel between the two types of hunting: the brutal animal hunt, and the more controlled but no less violent heroic hunt of humans, which, in fact, likens the brave hunters to the regal felines below, not unlike Homeric war-riors, who are likened to lions hunting prey." 3, 159
      - two Trojan scenes, and wedding of Peleus and thetis also have metaphorical allusions to hunting scenes 3, 160
      - hunting a rite of passage into warefare for Greek youths 3, 160
      - Achilles and Troilos - pursuit as if hunting, predator and prey 3, 161
      - Funeral games of Patroclos, warriors chariot race to celebrate life and death of Patroclos - a contest amongst aristocratic heroes for glory
      - Chiron holds tree branch with dead game over shoulder
        
        taught Achilles to hunt - analogy for warfare 3, 163
    - - sphinxes sepulchural image , used later on Attic funerary stelai 3, 159
      - prescence of Demeter
    - - parallel registers with Greek mythology, Eastern symbolism, a narrative of unification of cultural elements in art?
  - - - frame and mark off Calydonian boar frieze from rest of mythological scenes - a signal that this is from where viewing begins 3, 154
      - stationary, peripheral, add balance and bracket handles - interesting how unaltered* amongst Greek mythological
        imagery
  - - - tall pointed hat
        
        Scythian?
    - - "All pairs act in concert but archers work alone. Yet within each pair, distinctions of dress, appearance, and weapon are made: some have stones, some spears, and others swords. All hunters closest to the viewer, save Atalante, wear an animal skin while the companion ﬁgure does not. " 3, 154
    - - quiver on back
        
        link to foreign archers
      - also weilds a spear
  - - - multiple horizontal friezes
      - minaturist black figure style
      - animal processions
      - eastern or Orientalising motifs
      - boar hunt has precedents on Corinthian vases 3, 155
        
        kotyle, 600-575 BC Copenhagen - symmetrically-placed figures attack boar with a spear
        *
        
        Corinthian Kylix of 600-575 in Athens
        
        but no certainty of mythological figures 3, 155
        
        only seen on Attic 3, 156
        
        Athenian Dinos of Calydonian boar hunt570-560 BC, Blatter collection
      - second hand from Clitias 1, 74
      - purple faces*
- - - - decoration
        
        motif
        
        symbolism
        
        'Corinth's LG record of fine potting and delicate painting, but without any strong interest in figure work except in possibly alien Thapsos Group, seems to explain why her potters and painters adopted near eastern forms and patterns in a meticulous and miniaturist form, and copied eastern figure types more wholeheartedly than did Athens, where there was a very strong Geometric figure tradition.' 2, 85
        
        agree: i.e. in Francois vase, Eastern influence of figures take the form of peripheral embellishments, motifs and conscious signals
        
        agree: moreover, many poses, details, arrangement of figures and choices regarding the depiction and details of figures seem to capture narrative potentiality of techniques not available to the LG figures - i.e. compare with Dipylon - floating* figures, seemingly conjoined warriors, most minimal signalling of warriors, scale not always symbolic but often in subordination to decorative scheme
        
        disagree: Corinthian influence on Francois vase*
        
        pattern
        
        composition
        
        style
        
        convention
        
        formula
        
        technique
        
        clay
        
        fires to an off-white as has no iron compounds
        
        fires a pale yellowish colour 1, 61
        
        paint does not adhere to it as firmly as Attic 1, 62
        
        'It is usually argued that the new style was adopted purey as a matter of artistic choice: Corinth's Geometric had a far narrower range of motifs than Attic, which was preoccupied with scenes with human figures, whereas the former did not admit them and even excluded all fauna but for birds; Corinth was therefore ripe for change.' 4, 65
        
        light scattering of ornaments 4, 73
        
        colour
        
        purple additions frequent 1, 62
        
        white for ornament on dark ground common in last quarter of c8th
        
        less obtrusive filling ornament 1, 67
    - - tombs and potter's quarter 2, 85
      - most are exports, travelled alot 2, 85
        
        much from port and sanctuaries of Perachora, just north of Corinth 2, 85
    - - 720 BC, first Greek city to develop Orientalising style 1, 43
        
        direct from Syrian coast? 1, 43
      - 'growing sense of statehood' 2, 84
        
        centralised power 2, 84
        
        dependant on loyalty of citizen armies (hoplites) 2, 84
        
        neighbourly rivalries 2, 84
        
        'Status and the expression of status through display in life remained important, though status display at death did not quite match that of the Athenian Geometric cemeteries.' 2, 84
      - First Outline Group
      - exotic patterns in order to advertise exotic goods carried in exported pots? 4, 66
      - in Early Orientalizing, way now the dominant supplier of growing export trade in Greek pottery 1, 47
    - - mostly black figure (incised detail on silhouette) 2, 85
      - except filling ornament 2, 85
      - early Outline Groups 2, 85
      - outline style - lasted only for a generation and later picked up for female flesh 4, 66
        
        does not allow figures to stand out clearly from overall decoration - especially on small - scaael friezes, and even more so when there is a lavish use of filling ornmanet 4, 67
      - incising through a layer of gloss paint to show up light clay underneat - related to Near Eastern metalwork that was being imported into Greece 4, 67
        
        used primarily for interior detail, sparingly for outlines 4, 69
        
        black figure
        
        often added colours - polychromy
    - - most Corinthian vases only display animals and floral ornaments 4, 72
    - - 'The decoration is conceived as an object of beauty in itself.' 1, 46
    - - invention of black-figure technique
      - incision supplemented with colour - purple then later white 1, 48
        
        incision inspired by metalwork of east 1, 48
      - 'Lastly the dark silhouette to which the details are added discourages an illusionist treatment of the subject, and emphasises the enclosing contour. So a new conventional syle was created, dependent on the delicacy of line and balanced masses.' 1, 48
      - more freehand technique*
      - outline technique used for ornament but abandoned for figures 1, 49
      - 10b Aryballos - bearded figure wearing sword and grasping sceptre and thunderbolt, = Zeus, attacking monster of man and horse 1, 50
        
        figures drawn bodly, full rounded forms, vigorous poses 1, 50
        
        sparing details marked by incision 1, 50
        
        purple added for decorative value
        
        4 eagles and new ornaments 1, 50
        
        675 BC, one of first scene in Greek art certainly taken from mythology 1, 50
      - filling ornamnent lightens 1, 50
      - chains of lotus flowers and palmettes still in outline technique 1, 50
      - Macmillan aryballos of British Museum - 9c 1, 50
        
        l: massing figures in arragement
        
        3 narrow frienze banks - horse race, hare hunt, double rays
        
        18 soldiers in hoplite armour engaged 1, 50
        
        thin limbs and agility 1, 50
        
        colour experimentation
        
        l: chigi - brown skin
        
        warmish brown paint to represent human flesh 1, 50
        
        laid on flat wash and details incised - treatment and technique essentially of black figure 1, 50
        
        inspired by metopes? 1, 51
        
        inspired by free painting? 1, 51
      - action scenes still generalised, but more imaginative gresture and indivudual pose in figures and they interact more naturally than geometric 2, 86
      - 2nd quarter and mid century explicit mythologica lscenes appear 2, 86
      - reds, yellows, dilute brown paint 2, 86
      - narrow friezes have something of monumental to them - comparable to metops of temples in central Greece (at Thermon) - but 'It is by no means necessary to think that the larger figures inspired the smaller, given the continuous tradtion in vase painting which evolved this style, but the new polychromy is surprising, and short-lived. It was, however, being particed, although not in black figure, elsewhere in Greece. 2, 86
    - - tendency of bigger, larger animals - reaction against minaturism and for mass production 1, 52
      - motifs
        
        scales, and tongues round the shoulders 1, 52
      - Ripe period - immense output and export 1, 56
      - influenced by Animal style and free-painting of metopes ffrom Thermon and Calydon
        1, 57
      - Ripe figures - riders, soldiers, and padded dancers 1, 57
  - - - decoration
      - clay
        
        pale and coarse 1, 87, duller sheen
    - - varied
        
        Egypt
        
        Etruscans
        
        Southern Italy
        
        Sicily
        
        Spain
        
        France
      - very successful - due to distribution
        
        expensive import
    - - began Orientalising around 700 BC
      - Corinth exports from last quarter of c8th to last quarter of c7th - 1, 62
        
        peaked during early Ripe period 1, 62
      - 1/10th of contemporary pottery found ain the Agora at Athens was imported from Corinth.. 1,63
    - - unlike Corinth, outline technique popular for most of c7th 4, 66
      - 'During the next two or three generations Attic vase-painters showed a readiness to experiment and a grandiose imagination that was not troubled about scale or balance. But at the end of this period, which is known as Protoattic, discipline and a black-figure system were adopted and a new monumental style emerged.' 1, 63
    - - Analatos painter
    - - outline drawing*
      - generous use of white paint
      - outline drawing and incision 1, 67
      - flesh and details of human figures in yellow- 1, 67
      - overlapping figures due to use of outline or while as well as black-figuressilhouette
      - mythological scenes occur from the beginning of the period
      - increase on inner detail, sometimes merely decorative 1, 68
      - sparser filling of main fields
      - MPC -> sheer and monumental size
        
        greater variety of figure work 2, 89
      - real faces and more proportion to reality 2, 89
      - prothesis now on smaller vases 2, 90
    - - settled into disciplined black-figure style
        
        partial use for animals 1, 68
        
        purple necks, belly stripes and feathering soon the rule 1, 69
      - disappearance of outline drawing
      - use of purple becomes regular
      - three-colour school for some time 1, 68
      - Corinthian influence
        
        polychromy
        
        Cynosarges amphora - white flesh, purple drapery
        
        contemporary with polychrome style in Corinth
        
        1, 69
        
        Nessos amphora (615)
    - - Gorgon painter, 1, 71
        
        Dinos from Louvre, 18
        
        last Attic painter interested in Animal Style 1, 71
        
        spaciousness of main frieze -> Eurytos krater 12 c, and expression without action 1, 72
  - - - metal and ivory works 1,41
        
        found in Greek sites 1, 41
      - vase painting a Minor art in East 1.41
      - mix of traditional Hittite, Assyrian and Egyptian elements currently available in North Syria 1, 41
      - influence of immigrant craftsmen 2,83
      - Syria and Assyria 2, 83
        
        metalworkers with most effect in Central Greece and Crete 2, 83
        
        techniques, shapes, textiles, jewelery, metalwork 2, 83
        
        human and animal figures rendered in incision or low relief and ivories -> more outline drawing in Greece 2, 83
      - Phoenician arts heavily Egyptianising 2, 83
        
        (but little influence on Greece)
    - - human and animal rarely mixes in same field 1, 42
      - animal displays did not progress as much as human 1, 42
        
        common animals 1, 42
        
        lion
        
        bull
        
        boar
        
        sphinx
        
        griffin
        
        goat
        
        familiar from geo
        
        deer
        
        familar from geo
        
        dog
        
        eagle
        
        cock
        
        goose
        
        some (from East, occassionally featured also at end of geo)
        
        second half C7th
        
        Corinth Oriental influence
        
        lions
        
        sirens
  - - - shape
        
        freer use of curve 1,42
        
        more organic use of form 1,42
      - ornament
        
        new ornaments, richer fauna 1,42
        
        vegetables 1, 42
        
        -> 1, 43
        
        volutes
        
        palmettes
        
        lotus flowers
        
        buds
        
        rosettes
        
        Eastern Tree of Life adopted 2, 84
        
        without its religious significance 2, 84
        
        1 more item...
        
        abstract motifs
        
        hooks 1, 43
        
        spirals 1, 43
        
        cables 1, 43
        
        rays 1, 43
        
        crosses 1, 43
        
        some Eastern 1, 43
        
        some native 1, 43
        
        'The eastern forms are for the most part reinterpreted and we can never be sure that any in Greek guise are merely decorative.' 2, 84
        
        'We shall see that the Greek vase painter almost never copies an eastern metal vessel or its decoration directly, and the new forms were introduced piecemeal, assimilated and rapidly adjusted to serve their new functons, which must have been basically the same as those of Geometric art.' 2, 84
        
        stylisation
        
        more stylised in detail with greater vitality 1, 43
        
        'but generally ornament had a subordinate function in Greek vase-painting.'
      - composition
        
        looser 1, 42
        
        oblique symmetry 1, 42
        
        (2nd half C7th) - animals arranged in file (geo) -> confronting pairs or threes 1, 42
        
        conventional poses 1, 42
        
        C6th, some lions or panthers mauling animals becomes more common 1, 42
        
        horses common 1, 43
        
        'Of the subject matter, animal friezes were important, including monsters which the Greeks soon accomodates and hellenized (sphinxes, sirens, griffins) by identifying them wth creatures in their existing corpus of myth - sphinxes for Oedipus, sirens for Odysseus and funeral imagery, griffins for Arismasps, and all for general decorative purposes.' 2, 84
        
        lion with man's head on back, suberting common Syrian monster - a sphinx with lions head at its chest 2, 84
        
        adjusted some Oriental animals to serve other Greek mythical beasts - gorgons, chimera) 2, 84
        
        Chigi Corinthian aryballos from Thebes - form for the chimera by adapting eastern winged lion type + goat head on its wing and snake head on tail (where eastern put birds head) 2, 84
        
        no background 1, 43
        
        no spatial depth 1, 43
      - technique
        
        drawing experiments 1, 42
        
        reservation and incision (into Geometric silhouette) 1, 42
        
        black figure technique 2,84
        
        "a Greek pottery invention to answer Eastern incising in other media.' 2,84
        
        'As a result, figures are fuller and more naturalistic than the Geometric although not much affected by close observation of live forms, and the Greeks were especially taken by the opportunities offered to introduce pure pattern in the decoration of bodies, much as t apeared on their eastern models' 2, 84
        
        'The new possibilities of narrative and scene-setting given by Orientalising art meant that the decoration of a vase could play a more explicit part in rendering any messages of status or function, but the new narrative came but slowly and was neither the reason for adopting near eastern forms nor an inevitable results of so doing.'
        2, 84
        
        painted linear detail indicating features, muscles, ribs, flowers 2,83-4
      - figure and pose
        
        action
        
        decoration
        
        layer wigs 1, 42 - Aryballos 675 bc - second-hand from Egypt
        
        conventional pose of flying figures (i.e. Gorgon amphora 615 BC) - likely oriental (influence) 1, 42
        
        overlapping
        
        action and freedom of pose 1, 43
        
        profile head, eye in frontal profile, profile limbs 1, 43
        
        but after while, chest in profile and frontally to add and improve anatomical dtail 1, 43
      - scenes
        
        battles, races, processions 1, 43
        
        with time, more events fro mytology, and scenes of domestic life 1, 43
        
        first mythological scenes occur in Protocorinthian early in c7th 4, 69
        
        suicide of Ajax 4, 69
        
        rape of Helen 4, 69
        
        centauromachy 4, 69
        
        Bellerophon and the Chimera 4, 69
    - - 'But even in early Greek sculpture the foreign contribution to human studies was superficial, and in painting it was smaller still.' 1, 43
      - not all Greek potteries responded to Orientalising art in the same way 2, 84
        
        Corinth, East Greece (Wild Goat Style), Crete and somewhat Athens responded directly to Orientalising art 2, 84
        
        ! relationship direction of, and extent of (insular or two-way) influence, relation of each and inspiration of each from Eastern source and extent of Eastern influence
        
        ! 'Much Orientalizing was simply learnt from other Greeks. Only rarely could seriously different social requirements have been influential and Corinthian pottery of the 7th century looks so unlike Attic for the reasons already given, not because Corinthians and Athenians were radically different Greeks.' 2, 85
        
        individual local styles (c7th and c6th) 2, 85
        
        differing effect of Late Geometric influence 2, 85
        
        taste of influential potters and painters 2, 85
        
        'mindless copying' 2, 85
        
        eventual profit motive 2, 85
      - mythological narrative
        
        increased awareness of Mycenaean past and stories surrounding it, incl. Homer's epic poems 4, 69
        
        argument that myths themselves are of eastern derivation 4, 69
    - - Orientalising animal sytle 1, 43 standard
        
        'if there had been no Oriental contact in the eight-century Attic vase-painting of the mature black-fgure and red-figure styles might not have been much different.' 1, 43
        
        'For the characteristic subject of Hellenistic art was the human figure, and this developed out of Geometric in slow but almost complete independance.' 1, 43
  - - - orientalising
        
        animals and ornaments
    - - 3) how changes scenes
        
        i.e. black figure technique
    - - 'Orientalising', key characteristics
      - palpable differences, localisation
      - technique, new role of decoration on vase