GREEK GEOMETRIC POTTERY A survey of ten local styles and their chronology UPDATED SECOND EDITION
J.N. COLDSTREAM
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GREEK GEOMETRIC POTTERY A survey of ten local styles and their chronology UPDATED SECOND EDITION
J.N. COLDSTREAM
BRISTOL PHOENIX
PRESS
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GREEK GEOMETRIC POTTERY A survey of ten local styles and their chronology 'Geometric' is the term describing the linear decoration of fine pottery made by the Greeks from c. 900 to 700 E.C., a period which saw the dawn of Hellenic civilization. Geometric pottery - a leading art of its day - is of special importance for the historians of early Greece, being plentiful enough to establish a workable chronology for a period when there are no contemporary written documents. The main object of this book is a comprehensive study of ten local styles, and their relations with one another. This is followed by an attempt to fix their absolute chronology, in the light of the evidence. A final chapter outlines the importance of Geometric pottery for ancient historians. For the 2008 second edition, the author has added a Supplement dealing with discoveries made since the publication of his original text in 1968.
"Coldstream's study belongs to the handful qf works in classical archaeology that can only be described asfundamental ..." The Art Bulletin, 1970 "Greek Geometric Pottery will remain fir the foreseeable future the indispensable tool qf all archaeologists, as well as qf historians and art-historians, seeking a firm foundation on which to reconstruct the springtime of Classical Greece." Times Literary Supplement, 1969
"Coldstream has written a monumental study ... destined to become the classic in the field. This fir several reasons: intelligence of planning, authority qf judgement, lucidity qf prose style, sensitivity qf observation." Classical Journal, 1970
J.N. ColdstreaD1 is a Fellow of the British Academy and Emeritus Professor of Classical Archaeology at University College London and taught on the Early Iron Age in Greece for many years. His other major work, Geometric Greece, originally published in 1975, was reissued in 2003.
TO THE MEMORY OF MY FATHER
Cover illustration: Attic MG I krater, exported to Lefkandi in Euboea. First published in 1968 by Methuen & Co. Ltd. This second edition published in 2008 by Bristol Phoenix Press an imprint of The Exeter Press Reed Hall, Streatham Drive Exeter, Devon, E)4 4QR
UK Reprinted 2009
ioano.exeterpress.co.uk
© J.N. Coldstream, 1968; supplement material, 2008. The right of J.N. Coldstream to be identified as author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Acts 1988.
British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. ISBN 978
I
904675 81 5
New material typeset by Carnegie Book Production, Lancaster. Printed in Great Britain by Short Run Press Ltd, Exeter.
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Contents
List if plates Acknowledgements Abbreviations Preface to the second edition (2008) 1.
2.
3. 4. 5. 6.
7. 8. 9. ro, 11.
12.
13. 14.
page
XXXI
xxxv xli
Introduction Attic Geometric Corinthian Geometric Argive Geometric Protogeometric survivals in Thessaly, Skyros, Euboea and the Cyclades Thessalian Geometric Cycladic and Euboean Geometric Boeotian Geometric Laconian Geometric West Greek Geometric Cretan Geometric East Greek Geometric Absolute Chronology Historical Conclusions
Bibliography, exclusive if site publications Glossary if linear motifi Site Index Index if collections Supplement
(2008)
8
91 II2
148 158 164 19 6 212 220
233 262
30 2 33 2 39 1 395 399 43 1
Text Bibliography Site Index
General Index
vu -! I
IX
List of Plates
Plate no.
Local style
Date
Painteror Workshop
Height incm*
Shape
40
Provenance context
Agora, Gr. D.16:2
la
Attic
EGI
Shoulder-handled amphora
Ib
Attic
EGI
Kantharos
9·9
Agora, Gr. D.16:2
IC
Attic
EGI
Pedestalled kantharos
8·6
Agora, Gr. D.16:2
Id
Attic
EGI
Oinochoe
24·7
Agora, Gr. D.16:2
le
Attic
EGI
Lekythos-oinochoe
16·9
Agora, Gr. D.16:2
If
Attic
EGI
Pointed pyxis
14·4
Agora, Gr. D.16:2
Ig
Attic
EGI
Globular pyxis
13
Agora, Gr. D.16:2
Ih
Attic
EGI
Globular pyxis
11
Agora, Gr. D.16:2
rj
Attic
EGI
Skyphos
Ik
Attic
EGI
I1
Attic
EGI
Neck-handled amphora (detail) Neck-handled amphora
rm
Attic
EGI
Oinochoe
In
Attic
EGI
Cup
8·6
Agora, Gr. D.16:2
52
Agora, Gr.D.16:4
24·4
Agora, Gr. D.16:4
5. 6
Agora, Gr. D.16:4
Publication
Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 Hesperia 18, 275ff., pis. 66-72 -
Hesperia 21, 279ff., pis. 73-5 Hesperia 21, 279ff., pis. 73-5 Hesperia 21, 279ff., pis. 73-5
Museum inu. no.
&f.
Agora P 19228
11-13
Agora P 19246
11-13
Agora P 19241
11-13
Agora P 19230
11-13
Agora P 1923 1
11-13
Agora P 19239
11-13
Agora P 19240
11-13
Agora P 19229
11-13
Agora P 19242
11-13
Athens 18045 13 Agora P 20 177
11-13
Agora P 20178
11-13
Agora P 20181
11-13
I
*exclusive oflids or high handles
IX
x .
LIST OF PLATES
Plate no. 10
Local style Attic
Date EGI
LIST OF PLATES •
Painteror Workslwp
Shape Kantharos
Height incm*
Prooenance context
8'7
Agora, Gr. D.16:4
Ip
Attic
EGI
Kantharos
12'4
Agora, Gr. D.16:4
2a
Attic
EGII
37'5
2b
Attic
EGII
Shoulder-handled amphora Skyphos
2C
Attic
EGII
Cup
2d
Attic
EGII
Oinochoe
2S'7
2e
Attic
EGII
Kantharos
8
2f
Attic
EGII
38'5
2g
Attic
EGII
Neck-handled amphora Oinochoe
2h
Attic
EGII
72'2
3a
Attic
MGI
46. 6
3b
Attic
MGI
Neck-handled amphora Neck-handled amphora Skyphos
3c
Attic
MGI
Oinochoe
3°'5
3d
Attic
MGI
59
3e
Attic
MGI
Neck-handled amphora Skyphos
3f
Attic
MGI
Flat pyxis
Publication Hesperia 21, 279 ff., pis. 73-5 Hesperia 21, 279 ff., pis. 73-5 K.V.I,220, pI. 42 K.V.I,220, pl. 89 K.V.I,261, pI. 105 K, v, 1,238, pI. 74 K.V.I,261, pI. 84 K.V.I;261, pI. 25 K.V.I,261, pI. 79 K. v. 1,260, pI. 26 K. v. 1,233, pl. 29 K. v. 1,233, pI. 89 K. v. 1,233, pI. 72 K. v, 1,233, pl. 29 K. v. 1,233, pl. 89 K. v. 1,222, pl. 52 K.V.I,222, pl. 52 K.V.I,222, pI. 52 K. v. 1,237, pl. 93 K. v. 1,237, pl. 92 EA 1898, 114, pl, 3, 7
5 1'S
MGI
Shoulder-handled amphora Lekythos-oinochoe
Kerameikos, Gr.14 Kerameikos, Gr.14 Kerameikos, Gr·74 Kerameikos, Gr·43 Kerameikos, Gr·74 Kerameikos, Gr·74 Kerameikos, Gr·74 Kerameikos, Gr,74 Kerameikos, Gr·36 Kerameikos, Gr·3 6 Kerameikos, Gr·37 Kerameikos, Gr,37 Kerameikos, Gr,37 Kerameikos, Gr.20 Kerameikos, Gr.20 Kerameikos, Gr.20 Kerameikos, Gr·42 Kerameikos, Gr·42 Eleusis, Gr.
19'9
-
-
Attic
MGI
Oinochoe
23'5
4a
Attic
MGII
41
4b
Attic
MGII
Neck-handled amphora Flat pyxis
4c
Attic
MGII
Skyphos
4d
Attic
MGII
Kantharos
Kerameikos, Gr·42 Kerameikos, Gr.69 Kerameikos, Gr,69 Kerameikos, Gr,69 Kerameikos, Gr.69
K. v. 1,237, pI. 73 K. v. 1,257, pI. 31 K. v. 1,257, pI. 54 K. v. 1,256, pI. 91 K. v. 1,258, pI. 85
6 5'5
27
6'7
6 6'3
3g
Attic
MGI
Flatpyxis
9'3
3h
Attic
MGI
Flatpyxis
5,8
3i
Attic
MGI
Skyphos
6'5
3k
Attic
MGI
Skyphos
6'5
31
Attic
MGI
3m
Attic
3n
*exclusive oflids or high handles
10'5 6'9 11' 5
Museum inv. no,
Ref.
Agora P20180
11-13
Agora P20179
11-13
Kerameikos 4 12 Kerameikos 4 13 Kerameikos 25° Kerameikos 1253 Kerameikos 25 1 Kerameikos 253 Kerameikos 25 2 Kerameikos 254 Kerameikos 2155 Kerameikos 2 156 Kerameikos 870 Kerameikos 866 Kerameikos 86 7 Kerameikos 262 Kerameikos 263 Kerameikos 265 Kerameikos 2144Kerameikos 2 141 Eleusis 700
14-15
Cambridge GR 2.1943 Kerameikos 2145 Kerameikos 255 Kerameikos 257 Kerameikos 256 Kerameikos 258
Plate no. 4e-h
Local style Attic
Painteror Workshop
Date MGII
Shape Globular pyxis
Height incm* 33
context
Publication
Kerameikos
Arias-Hirmer-
Kerameikos, Gr.22 Kerameikos, Gr.22 Kerameikos, Gr.22 Kerameikos, Gr.22 Kerameikos, Gr.22 Kerameikos, Gr.86 Dipylon, Gr.20r4
5a
Attic
MGII
Oinochoe
27'5
5b
Attic
MGII
Oinochoe
23'3
5c
Attic
MGII
57'7
5d,f
Attic
MGII
Neck-handled amphora Pedestalled krater
5e
Attic
MGII
Skyphos
5g
Attic
MGII
6
Attic
LGIa
Dipylon Master
Shoulder-handled amphora Belly-handled amphora
7a
Attic
LGIa
Dipylon Master
Krater, fr,
58 (PH) Dipylon
7b,c
Attic
LGlb
DipylonW
Oinochoe
21'5
Agora, Gr. E.19:3
7d
Attic
LGla
Dipylon Master
Giant oinochoe
89
7e
Attic
LGla
Dipylon Master
Pitcher
77
8a
Attic
LGlb
Dipylon W
Pedestalled krater
122
Dipylon, Gr.14 Dipylon, Gr.14? Dipylon
8b
Attic
LGlb
Hirschfeld P
Pedestalled krater
123
Dipylon
14-15
5 2'5
14-15 5'2
14-15 14-15 14-15 14-15
Prouenance
5 1'5 155
14-15 17-20 17-20 17-20 17-20 17-20 17-20 17-20
Shefton, 266-7, pI. 3 K.V.I,224, pI. 73 K.V.I,224, pI. 75 K. v. 1,223, pI. 32 K. v . 1,223, pls. 20, 21 K.V.I,223, pI. 91 K.V.I, 265, pI. 45 Asios-HirmerShefton, 267, pI. 4 CVA, Louvre 11, pI. I, 1-10; pI. 2, 5 Hesperia 29, 404, no. I, pI. 89 Davision 134, fig. 7
30ff•
Agora P 15122
32ff.
Athens 811
30 ff.
-
Athens 812
30ff.
CVA, Louvre 11, pls, 11-12
Paris A 552
32ff.
Arias-Hirmer-
Athens 990
Shefton, 267-8, pI. 5 AA 1962, 594 ff., figs. 1-2
4 1-4
Munich 8748
4 2-4
Hirschfeld W
Neck-handled amphora
42
17-20
8e
Attic
LGlb
Hirschfeld W
Pitcher
32
-
17-20
8f 8g
Attic Attic
LGlb LGlb
Hirschfeld W Dipylon W
Tankard Tankard
15 21'3
-
9a
Attic
LGla
Skyphos
7
9b
Attic
LGla
Skyphos
5"8
9C
Attic
LGla
Skyphos
5
9d
Attic
LGla
Skyphos
5'7
ge
Attic
LGla
Tankard
13'4
9f,g
Attic
LGIa
Flat pyxis
8'9
-
17-20
17-20 22-25 22-26 22-25 22-25
I *exclusive oflids or high handles
22 28 -
ParisA5 17
LGlb
Agora, Gr. 17 (G.12 :17) Agora, Gr. 17 (G.12:17) Agora, Gr. 17 (G.12 :17) Agora,Gr.17 (G.12:17) Agora, Gr. 17 (G.12:17) Agora, Gr. 17 (G.12:17)
1
29ff.
Attic
17-20
Paris A 514
Ref.
Kerameikos 3°0 Kerameikos 298 Kerameikos 291 Kerameikos 29° Kerameikos 294 Kerameikos 82 5 Athens 804
8c,d 17-20
Museum inv. no,
Agora VIII, no. 260 AgoraVIII, no. 261 Agora VIII, no. 262 Agora VIII, no. 263 Agora VIII, no. 251 Agora VIII, no. 269
22-5 22-5 22-5 22-8 22-5 22-5
Dunedin 4 2-4 E 57,155 Athens 16193 4 2-4 Univ, Coll. 33 ff. London Agora 48-5 1 P 5°73 Agora 48-5 1 P 5°7° Agora 4 8-5 1 P 5°7 1 Agora 4 8-5 1 P 5°72 Agora 47-5 1 P 5°53 Agora 47-5 1 P 5°60
I
xi
LIST OF PLATES • XlU
XlI • LIST OF PLATES
Plate no.
Local 3tyle
Painteror Workslwp
Date
Shape
Height incm*
Provenance context Agora, Gr. 17 (G.12:17) Agora, Gr. 17 (G.12 :17) Agora, Gr. 17 (G.12:17) Kerameikos, Gr.24 Kerameikos, Gr.24 Kerameikos, Gr.24 Kerameikos, Gr·7 1 Kerameikos, Gr·7 1 Kerameikos, Gr·7 1 Kerameikos, Gr·7 1 Kerameikos, Gr·90 Agora, Gr. 18 (G.12 :9)
9h,j
Attic
LGIa
Flatpyxis
10'7
9k,1
Attic
LGIa
Flatpyxis
10'5
9m,n
Attic
LGIa
Flatpyxis
6· I
loa
Attic
LGIb
44. 8
lOb
Attic
LGIb
Neck-handled amphora Skyphos
1OC
Attic
LGIb
Kantharos
1I ·6
rod
Attic
LGIb
Oinochoe
21·8
loe
Attic
LGIb
Skyphos
10
IOf
Attic
LGIb
Skyphos
1I
109
Attic
LGIb
Athens 706W
High-rimmed bowl
7'5
IOh
Attic
LGIb
Athens 706 W
High-rimmed bowl
7'1
IOj
Attic
LGIb
Attic
LGIb
Flat pyxis
rom
Attic
LGIb
Plate
r ra.b
Attic
LGIIa
Subdipylon W
8
Neck-handled amphora
LGIIb
Athens 894 W
One-piece oinochoe
24
LGIIb LGIIb
Athens 894 W Athens 894 W (Stathatou P)
Tankard Neck-handled amphora
16 60
Soldier-bird W
Pitcher
Athens 894 W
lId
Attic
LGIIb
lIe
Attic
lIf lIg
Attic Attic
LGIIa
LGIIa
Pitcher
54
Attic
LGlIa
Birdseed W
High-rimmed bowl
12f
Attic
LGIIa
Birdseed P
Oinochoe
25
12g
Attic
LGIIa
SwanP
Pitcher
37
12d
Attic
12e
I *exclusive oflids or high handles
I
AA 1964, 61 I If, figs. 1-2
I
I
-
Ay. Paraskeve
-
9'4
AJA 71, 821f., pIs. 31-2
-
I
I
&f.
Agora P 5°62 Agora P5066 Agora P 5°61 Kerameikos 377 Kerameikos 376 Kerameikos 373 Kerameikos 34 1 Kerameikos 344 Kerameikos 34 2 Kerameikos 345 Kerameikos 815 Agora P 4782
47-5 1
Agora P4784
47-5 1
Athens 14472 Leiden 1.1909/1.1
49-S 1
Athens 17935 Athens 1747° Agora P 23654 Athens Athens St. 222
I
Plate no.
Local style
Date
Painteror Workshop
Shape
Height incm*
Provenance context
Publications
-
13a
Attic
LGIIa
Bird and LozengeP
Pitcher
39
13b
Attic
LGIIa
RattleW
Pitcher
38
47-5 1
13C
Attic
LGIIa
Anavysos P
Pitcher
48-5 1
13d
Attic
LGIIa
Oinochoe
23'5
-
48-5 1
13e,f
Attic
LGIIa
Concentric Circle Gp Hunt Gp
Oinochoe
21·8
-
47-5 1
14a
Attic
LGIIb
LionP
Pitcher
44
48-5 1
14b
Attic
LGIIb
Athens 897 P
Pitcher
56
48-5 1
14c
Attic
LGIIb
48, SI-2 51-2
14d
Attic
LGIIb
A th ens 897W (Empedocles) Paris CA 3283 P
Neck-handled amphora Oinochoe
14e
Attic
LGIIb
Athens 897 P
15a
Attic
LGIIa
29
15b
Attic
LGIIa
Neck-handled amphora Neck-handled amphora Skyphos
ISC
Attic
LGIIa
Kantharos
1I '2
15d
Attic
LGIIa
Oinochoe
23
15e
Attic
LGIIa
High-rimmed bowl
8·6
58,61
15f
Attic
LGIIa
Skyphos
8
S9ff.
15g
Attic
LGIIa
Kotyle
6
59ff.
15h
Attic
LGIIa
Kotyle
9. 8
Isj 15k ISI
Attic Attic Attic
LGIIb LGIIb LGIIb
Kotyle Plate Cup
8
47-5 1 47-5 1
47-5 1
601f. 591f·
Oxford 1927.4447 Hobart 31
68-7°
British School at Athens A 306
70-1
67-7 0
Athens 894 W
Bull. desMusees deFrance, 1948, fig. I
-
10'2
5'S
7. 6
Attic
LGIIb
High-rimmed bowl
15n
Attic
LGIIb
Oinochoe
14
150
Attic
LGIIb
Kantharos
6
ISP
Attic
LGIIb
Cup
4
16a
Corinthian
PG
Oinochoe
*exclusive oflids or high handles
Festschrift Zw:ker, 178, pis. 7--8 PAE 191I, 122, fig. 21
Davison 143, fig. 31 Daoison 143, fig. 32
26
15m
I
"Neighbourhood of Athens" Anavysos
-
5S-6
Athens 64-S 18432 Paris 66-7 ~CA 1823 Athens 16022 67-7 0
-
48 (PH)
LGIIa
CVAAthens2, pI. 13, I-S AgoraVIII, no. 36o
Agora, WellQ.8:9 Marathon Koropi
Amphora, fr.
Attic
Brants 8, pI. 7,52 Davison, fig. 94
Kerameikos
Hooked Swastika W Birdseed P
rsb,c
-
38
LGIIb
Agora.Grv rS (G.12 :9)
13S
Athens 894 W
Attic
AgoraVIII, no. 265 AgoravIII, no. 267 AgoraVIII, no. 252 K. v. 1,225, pI. 33 K. v . 1,226, pI. 97 K. v. 1,226, pI. 86 K. v. I, 258, pI. 75 K. v. 1,258, pI. 99 K. v. 1,258, pI. 96 K. v. 1,258, pI. 1I9 K. v. 1,268, pI. 120 Hesperia Supp, I I, 89, fig. 6o Hesperia Supp. rr, 89, figs. 60-1
Anavysos
Neck-handled amphora (detail) Hydria
lIC
Attic
18
Tankard
IOk,1
12a
9'2
Museum inv. no.
Publication
25. 6
Kerameikos, Gr·9 0 Kerameikos, Gr·90 Kerameikos, Gr·90 Kerameikos, Gr·90 Kerameikos, Gr·5 l a Agora, Gr. E.19:1 Agora, Gr. E.19:1 Keratea
K. v. 1,268, pI. 38 K. v. 1,268, pI. 99 K. v, 1,268, p.87 K. v. 1,268, pI. 78 K. v; 1,246, pl. 121 Hesperia 29, 4081f., pI. 90 Hesperia 29, 4081f., pI. 90
-
Anavysos Agora, Gr. 6 (G.12:IO)
Hesperia
Kerameikos, Gr. 56 Kerameikos, Gr. S6 Kerameikos, Gr. S6 Kerameikos, Gr·s6 Corinth, well-shaft
30, fig. 17 K. v, I, 2S0, pI. 122 K. v. 1,249, pI. 80 K. v. I, 2S0, pI. 88 K. v. I, 2S0, pl, 107 Corinth VII. I, 10, no. 23, pI. 3
Suppv r r ,
Museum inu. no.
&f.
British School 7 1 at Athens A30S London 11-2 1916. 1--8.2 Athens 144 11 London 77. 12-7. 12 Cambridge GR 1.1935 London 1913.11- 13.1 London 1905·10-28.1 Berlin (East) 3lOOS Paris CA 3283
73 7S-6 76-7 73-4 77--81 71--81 82
Athens 17S19 77--81 Kerameikos 816 Kerameikos 818 Kerameikos 81 7 Kerameikos 814 Kerameikos 1318 Agora P 15°3° Agora P Is029 Oxford 1934·344 Athens 18496 Athens 14449 Agora P 4786 Kerameikos 3 13 Kerameikos 3 12 Kerameikos 320 Kerameikos 3 19 Corinth
85-90 85-90 85-9° 8S-9° 85-90 85-90 85-90 85-90 601f. 85-90 85-90
85-9 0 8S-9° 85-90 8S-9° 92-3
xiv . Plate no.
LIST OF PLATES
Local sryle
Date
LIST OF PLATES • XV
Painteror Workslwp
Shape
16b
Corinthian
EG
Oinoehoe
16c
Corinthian
EG
Skyphos
Height incm*
Prouenance context
32'2
Corinth, well-shaft
6'3
Corinth VII. I, I I, no. 29, pl. 4 Beazley Gifts I9 I2-66,
16d
Corinthian
EG
Globular pyxis
19. 6
Corinth, well-shaft
16e
Corinthian
EG
Oinochoe
29'4
17a
Corinthian
MGI
Oinochoe
28·8
Corinth, Gr.N.of Peirene Athikia, Gr. (1934)
17b
Corinthian
MGI
Aryballos
9
Clenia, Gr.
17c
Corinthian
MGI
Aryballos
8'2
Clenia, Gr.
17d
I7e
17f
Corinthian
Corinthian
Corinthian
MGI
MGI
MGII
Skyphos
Oinochoe
Pedestalled krater
17g
Corinthian
MGII
Lekythos-oinoehoe
17h
Corinthian
MGII
Skyphos
6'7
3 0'5
49'5
12'5
Corinth Agora, Gr. Corinth Agora, Gr. Corinth Agora, Gr.
9
17j
Corinthian
MGII
Krater
18a·
Corinthian
MGII
Oinochoe
24. 6
18b
Corinthian
MGII
Oinochoe
35'5
18c
Corinthian
MGII
Lekythos-oinochoe
11
18d
Corinthian
MGII
Skyphos
18e
Corinthian
MGII
Proto-kotyle
*exclusive oflids or high handles
Corinth, Gr.N.of Peirene Corinth
22'5
'2
12 6·6
Corinth Agora, Gr. Corinth, N. Cemetery, Gr.17 Corinth, N. Cemetery, Gr.18 Corinth, Potters' Quarter, Gr'5 Corinth, S. Stoa Well Thera
Museum inv. no.
Publication
Ashmolean MUS.19 67, no. 63, pl. 5 Corinth VII. I, 13, no. 37, pl. 7 Corinth VII. I, 16, no. 56, pl. 9 Corinth VII. I, 20, no. 71, pl. 11 AJA 59,126, no. 5, pl. 39, fig. 5 AJA 59,126, no. 6, pl, 39, fig. 7 Corinth VII. I, 17, no. 61, pl, 10
Corinth V 11. I, 25, no. 73, pl. 12 Corinth VII. I, 27, no. 76, pI. 12 Corinth VII. I, 27, no. 75, pl. 12 Corinth v 11. I, 26, no. 74, pl. 12 Corinth XIII, 24, no. 17-1, pl. 7 Corinth XIII, 27, no. 18-2, pl. 8
Hesperia 20, 293, pl. 89d
-
Ref.
Plate no.
Local style
Date
Painteror Workshop
Shape
Height in cm*
Provenance context
Corinth
92-3
18f
Corinthian
MGII
Proto-kotyle
7'3
Thera
Oxford 1932.678
92-3
18g
Corinthian
MGII
Kantharos
9. 8
Corinth
19a
Corinthian
LG
Oinoehoe
92-3
29
Corinth CP863
19b
Corinthian
LG
Oinoehoe
92-3
30
Corinth CP 1893
19c
Corinthian
LG
Oinochoe
31 ·6
94-5
Corinth CP2214
Cocinthian
LG
Lekythos-oinochoe
16
94-5
19d
Corinth, Potters' Quarter, Gr·5 Corinth, S. Basilica Well Corinth, S. Basilica Well Corinth, S. Basilica Well Corinth
Corinth CP 2215
1ge
Corinthian
LG
Globular pyxis
22
94-5 19f
Corinthian
LG
Kyathos
Corinth CP865
94-5 199,h
Corinthian
LG
Krater
25' I
Corinth, N. Cemetery
19j
Corinthian
LG
Kotyle
11
Pithecusae
19k 191
Corinthian Corinthian
LG LG
Kotyle Kotyle
10'5 10'3
Anavysos
20a
Corinthian
LG
ThapsosW
Krater
18
Aetos
20b
Corinthian
LG
ThapsosW
Kantharos
20C
Corinthian
LG
ThapsosW
20d
Corinthian
EPC
ThapsosW
20e
Corinthian
LG
Tallpyxis
20f
Corinthian
EPC
Kotyle-pyxis
6
20g
Corinthian
EPC
Flat pyxis
7
20h
Corinthian
EPC
Tallpyxis
15
British School 94-5 at Athens A7 1 Corinth 95-8 G--37- 1 Corinth G--37-5
95-8
Corinth G--37-4
95-8
Corinth G--37-3
95-8
Corinth T2455
95-8
Corinth T2408
95-8
Corinth KPI64
95-8
.
Corinth
95-8
Thera 937
95-8
*exclusive oflids or high handles
AM28,152, one of C 7g-84
-
Hesperia 18, 153, pl. 19, fig. 26 Hesperia 18, 153, pl. 19, fig. 27 Hesperia 18, 153, pl. 19, fig. 26 SievekingHacklv t t ; no. 224, pl. 6 Aetos, Upper BSA43,25, Deposit no. 69, pl. 5 '05T\y6s(1935), 99
9'5
Thera, Schiff'sGr.
Skyphos
13'5
Skyphos
6'5
Aetos, Lower Deposit Suessula, cemetery Aetos, Lower Deposit (lid only) Thera, Schiff'sGr.
15
Publication
Thera, Messavouno Gr·9 1 Thera
Corinth X11 I, 39, S-3, pI. 10 MetTopoli e Colonic, 264, fig. la GPP, pl. 8b Lullies, Kleinkunst, pl. 17, 123 BSA43, ro, no. 4, pl. I Thera 11, 191, no. 2, fig. 383 BSA43,1O, no. I, pi. I
BSA48,30 I, no. 839, pi. 50 Thera 11,316, no. 66, fig. 508 AM28,199, K67, BeiI.36,2 Brants 10, pl. 12, I
Museum inv.no.
Ref.
Thera
95-8
Corinth KPI72
95-8
Corinth C 48-143
98-102
Corinth C 48-137
98-102
Corinth C48- 136
98-102
Munich 2284
98-102
Vathy (Ithaca) Athens, Benaki MUS.26 Corinth T27 13
98-102
Ischia
98-102
98-102
g8-102
Athens 14476 98-102 Munich, v, 98-102 Schoen coIl. 102-4 Vathy (Ithaca) 102-4 Thera
Vathy (Ithaca) London 78.12-12.2 Vathy (Ithaca)
102-4 102-4 104-8
Thera
104-8
Thera
104-8
Leiden VZVN4
104-8
XVI • LIST OF PLATES
Plate no. 21a
21b 21C 21d 21e
Local style Corinthian
Corinthian Corinthian Corinthian Corinthian
Date EPC
EPC EPC EPC EPC
21f
Corinthian
EPC
21g
Corinthian
EPC
21h
Corinthian
EPC
21j
Corinthian
EPC
21k
Corinthian
EPC
22a
22b
22C
22d
22e
22f
22g
Argive
Argive
Argive
Argive
Argive
Argive
Argive
EGI
EGI
EGI
EGI
EGI
EGI
EGI
22h
Argive
EGI
23a
Argive
EGII
23b 23c
Argive Argive
EGII EGII
LIST OF PLATES' XVll Painteror Workslwp
Height incm*
Shape Oinochoe
3°'7
Oinochoe
21 'S
Lekythos-oinochoe Kotyle
6'9
Kotyle
II ·8
Kotyle
9
Tall pyxis
12
Aryballos
S·8
Aryballos
7'5
Krater
23'2
Kantharos
9'7
Pedes tailed skyphos
14'S
Corinth, S. Basilica Well
Cumae, Gr·37 Eleusis, Gr. Corinth, WellC Cumae
Musewn Publicat'IOn
mv. no.
Re.
Hesperia 18, IS3, pI. 19, fig. 27 VS, pI. 7, I
Corinth C48-138
1°4-8
London S9· 2-16·38 Naples
1°4-8 104-8
Eleusis 1020
104-8
Corinth C40-366
104-8
London 19so.1-24·2 Thera
Thera
104-8
MA 22, 276, pI. 37, I EA 1898, 119, pI. 2,3 Hesperia 17, 2II, C 12, pI. 7S
-
Thera, Messavouno Gr·97 Thera, Messavouno Gr. S7 Cumae
AM28,198, K61, Beil·34,4 AM28,19S, K37, BeiI. 33, 8
Corinth, Agora, Well Mycenae, Gr. G 603
Corinth v H. I, 37, no. 116, pI. 16 BSA So, 241ff., pis. 47-8
Mycenae, Gr. G603
BSAso,24 I ff., pis. 47-8
-
Belly-handled amphora
28
Mycenae, Gr. G603
BSAso,24 I ff., pis. 47-8
Oinochoe
19'5
Mycenae, Gr. G603
BSA So, 24Iff., pis. 47-8
Lug-handled pyxis
12
Mycenae, Gr. G603
BSA So, 24Iff., pis. 47-8
London 19S0.1-24· 1 Corinth C 36-SS7 Nauplion, Myc·S426 7 Nauplion, Myc·S4268 Nauplion, Myc'S426S Nauplion, Myc·S4261 Nauplion, Myc'S4269 Nauplion, Myc'S427° Nauplion, Myc'S4266
EGII
Cup
9
23f
Argive
EGII
Cup
6
23g
Argive
EGII
Globular pyxis
8
23h
Argive
EGII
Lug-handled pyxis
8
24a
Argive
MGI
Globular pyxis
18·S
1°4-8
24b
Argive
MGI
Pedestalled krater
29' I
104-8
24c
Argive
MGI
Oinochoe
21·8
Berbati, Gr.
24d
Argive
MGI
Oinochoe
27'S
Berbati, Gr.
24e 24
Argive Argive
MGI MGII
Skyphos Oinochoe
24
24g
Argive
MGII
Skyphos
24h
Argive
MGII
Amphoriskos
II
24j
Argive
MGII
28'4
2sa
Argive
MGII
3°
2Sb
Argive
MGII
Neck-handled amphora Neck-handled amphora Globular pyxis
113-IS
2SC
Argive
MGII
Kantharos
11"S
II3-IS
2Sd
Argive
MGII
Lug-handled pyxis
9
Mycenae, Gr. G II/1
II3-IS
2se
Argive
MGII
Cup
S
Mycenae, Gr. G 11/1
II3-IS
2Sf
Argive
MGII
Globular pyxis
18·S
Mycenae, Gr. G 11/1
II3-IS
2Sg
Argive
MGII
Aryballos
14'S
2Sh
Argive
MGII
Oinochoe
IS
Tiryns, Gr.16 Tiryns
26
Argive
LGI
Globular pyxis
27a
Argive
LGI
Krater
2S
27 b
Argive
LGI
Oinochoe
41
104-8
II3-IS
113-IS
Mycenae, Gr. G603
BSAso,24 I ff., ~Nauplion, II3-IS pis. 47-8 Myc'S4263 BSA So, 24S, Nauplion, lIS-I 7 pI. 4ge Myc·S4211 Nauplion, lIS-I 7 I Myc·S9-3S Nauplion, lIS-1 7 Myc·sg--68
4° 4
Mycenae, Gr. G607 Mycenae, Gr. G607
7
104-8
BSA So, 241ff., pis. 47-8
Neck-handled amphora Skyphos
10·6
Argive
Mycenae, Gr. G603
I
Provenance context
23e
8·8
Mycenae, Gr. G604
Height incm*
Mycenae, Gr. G607 Mycenae, Cr. G607 Mycenae, Gr. G607 Mycenae, Gr. G.607 Mycenae, Gr. G607 Argos, Gr.176/ 1 Berbati, Gr.
Lekythos-oinochoe
24
Shape
Workshop
Skyphos
BSAso,24Iff., pis. 47-8
Oinochoe
Painteror
Date EGII
Mycenae, Gr. G603
12
Local style Argive
7'S
Globular pyxis
Plate no. 23d
Lug-handled pyxis
I
*exclusiv e of lids or high handles
16·S
Provenance context
I
3°
104
Tiryns Tiryns, Gr.24 Tiryns, Gr.24 Tiryns, Gr·3 0 Argos, Gr.191 Argos, Gr.6/1 Argos, Gr.6/1 Mycenae, Gr. G 11/1
Argos, Gr.23 Mycenae, Gr. G 1I/2 Mycenae, Gr. G 11/2
Museum inv. no.
Publication
-
Nauplion, Myc·Sg--67 Nauplion, Myc·sg--66 Nauplion, Myc·Sg-61 Nauplion, Myc·Sg-7° Nauplion, Myc·Sg--63 Argos C 2434 Nauplion 4 161 Nauplion 3832 Nauplion 3833 Nauplion Nauplion 1948 Nauplion
-
-
CGA, pI. 79 SCS4,83, figs. 70-3 SCS4,84, fig. 68 SCS 4,84, fig. 68
Tiryns I, 141, pl. 14,8 Tiryns I, ISO, pl. 18, 11 Tiryns I, 137, pl. 17,7 CGA, pl. 3
I I I
Nauplion
Argos C 2473 Argos CGA, pl. 4 C30 Argos CGA, pI. 79 C43 BSA49,260ff., Nauplion, Myc·S3pl. 44 321 BSA49,260ff., Nauplion, Myc'S3pI. 44 33 1 BSA49,260ff., Nauplion, Myc·S3pI. 44 322 BSA49,260ff., Nauplion, Myc'S3pl. 44 333 Nauplion Tyrins I, 141, pl. 19,6 19S3 Nauplion 4 2S3 Argos CGA, C 209 pis. 100-4 BSA49,262ff., Nauplion, Myc·S3pis. 44-5 338 BSA49,262ff., Nauplion, Myc'53pls·44-S 336
I *exclusive of lids or high handles
Rej. IIS-I 7 IIS-I 7 IIS-I 7 IIS-1 7 IIS-1 7 118-20 118-20 118-20 118-20 118-20 120-4 120-4 120-4 120-4 120-4 120-4 120-4
120-4
120-4
120-4
120-4 120-4 12S-3 1 I2S-3 I
I2S-3 I
LIST OF PLATES • XIX
XV111 • LIST OF PLATES
Plate no.
Painter or
Local
style
Date
Workshop
Shape
Height incm*
Provenance context
Publication
27c
Argive
LGI
Skyphos
II'5
Mycenae, Gr. G II{2
BSA49,262ff., pis. 44-5
27d
Argive
LGI
Krater
24'3
Mycenae, Gr. G II{2
BSA49,262ff., pis. 44-5
Mycenae, Gr. G II{2
BSA49,262ff., pls, 44-5
Asine
Asine 328, no. 17, fig. 222, 6 Asine 331, no. I, fig. 224,2 CGA, pI. 61
27e
28a
Argive
Argive
Hemispherical oinoeboe
29
Atticizing W ofAsine
Oinochoe
46
LGI
LGII
28b
Argive
LGII
Atticizing W of Asine
Neck-handled amphora
41
Asine, House Deposit
28c
Argive
LGII
FenceW
Kantharos
15'2
28d
Argive
LGII
FenceW
Tripod amphora
68
Argos, Gr·45 Nauplion, Pronoia
28e
Argive
LGII
Krater
25'5
29a,b 29C 29d
Argive Argive Argive
LGII LGII LGII
Sparring Horses P VerdelisW Verdelis W Athens 877 P
Oinochoe Skyphos Krater
30 6 22
2ge 29f
Argive Argive
LGII LGII
Schliemann P Athens 877 P
Krater Kantharos
31 14'5
goa.b
Argive
LGII
DanceP
Krater
31' I
30C
Argive
LGII
Flat pyxis
25
30d
Argive
LGII
ArgosC201 W
Kantharos
13
30e
Argive
LGII
Argos C 201 P
Krater
47'3
3 Ia
Argive
LGII
75
3 Ib
Argive
LGII
Neck-handled amphora Kantharos
3 1c
Argive
LGII
Skyphos
7
3 1d
Argive
LGII
Cup
~
3 Ie
Argive
LGII
Skyphos
9
3 If
Argive
LGII
Cup
4'7
3 Ig
Argive
LGII
Cup
5'5
3 1h
Argive
LGII
Plaque
*exclusive of lids or high handles
6'5
28
125- 31
Plate no.
Local
style
Painter or Date
Workshop
Shape
Height incm*
3 Ij
Argive
LGII
Krater
31
3 2a
ThessaloCycladic ThessaloCycladic
SubPG
Cup
10
SubPG
Skyphos
8'5
125- 31 3 2b 125- 3 1 3 2C
ThessaloCycladic
SubPG
Amphoriskos
9'7
32d
ThessaloCycladic ThessaloCycladic ThessaloCycladic ThessaloCycladic
SubPG
Cup
7'4
SubPG
Skyphos
9'3
SubPG
Amphoriskos
3 1' 5
SubPG
Skyphos
11'5
SubPG
Skyphos
7'5
EG
Jug, cut-away neck
20 22
132-3
Provenance context
Argos, Larissa Marmariani, T6 Rheneia, Purification Tr. Tenos, Ktikados Gr. I Rheneia, Parakastri Tenos, Kardiani Rheneia, Parakastri Marmariani
132-3
Argos C 171 Nauplion 10006 Athens 231
134-5
133-4
3 2h
Athens 843 ArgosC20 Athens 877
136 136 138
33 a
ThessaloCycladic Thessalian
33 b
Thessalian
EG
Oinochoe
ArgosC I Nauplion 19 15 Corinth T2545
137-8 138
33 C
Thessalian
EG
Globular pyxis
140-1
33 d
Thessalian
EG
Hydria
Nauplion
142
33 e
Thessalian
EG
PedestaIled krater
36'5
Marmariani
Tiryns I, 144, pI. 15, 13 CGA, pis. 43-5 AE 1912, 131, fig. I AE 1912, 136, fig. 12 CGA,pI. 59
Nauplion 1973 Argos C 201
139-40 33f
Thessalian
MGII
Pedestalled krater
36
Kapakli
33g
Thessalian
LG
Pedestalled krater
Kapakli
141-4
40
Nauplion
34 a
Cycladic
EG
Skyphos
13
Nauplion
14 1-5 34 b
Cycladic
EG
Skyphos
10'2
Nauplion
14 1-4
CGA, pI. 76
Nauplion
14 1-4
34 C
Cycladic
MG
Skyphos
8
Tenos, Ktikados Tenos, Ktikados Gr. I Thera, Messavouno
Tiryns I, 150,
Nauplion .:l003 Nauplion
14 1-4 34 d
Cycladic
MG
Skyphos
6·8
34 e
Cycladic
MG
Kantharos
12
Nauplion, Myc·55-g Aegina 1747
14 1-4 34f
Cycladic
MG
Kantharos
II ·8
34g
Cycladic
MG
Skyphos
CGA, pI. 11
-
Argos, Gr. I Mycenae, Evang.Gr. Corinth, N. Cemetery, Gr·47 Mycenae, Evang.Gr. Tiryns, Gr.26 Argos, Gr·43 Mycenae, Evang.Gr. Mycenae, Evang.Gr. Mycenae, Evang.Gr. Mycenae, Evang.Gr. Tiryns, Gr.26 Tiryns, Gr·37 Mycenae, Gr.G605 Aegina
Nauplion, MyC·5334 0 Nauplion, MyC·53337 Nauplion, Myc·53339 Nauplion
ReI.
Nauplion
CGA, pI. 32
Argos, Gr. I
Museum inv. no.
CGA, pI. 58 AD 16,70, pI. 34 CGA, pI. 28 CGA, pI. 62 Corinth XIII, 35,47-1, pI. 9 CGA, pI. 83
pI. 15, 10 Tiryns I, 151, pI. 18, I BSA 51,128, pI. 33 Kraiker, Aigina 30, no.66; pI. 5, 67
3 2e 3 2f 3 2g
134-5
139-40
14 1-4
141-4
*exclusive oflids or high handles
6'5
Rheneia, Parakastri Marmariani, T.6 Marmariani
Rheneia, Parakastri Tenos, Ktikados Delos, T. near Altar ofZeus Polieus Tenos, Kardiani
Museum
inv.no.
Ref.
CGA,pI. 36
Argos C 645
142-6
BSA 31, 26, no. 92, pl. 6 Delos xv, 54, Ae20, pI. 27a
Athens
152-4
Mykonos
152-4
Tenos
152-4
Mykonos A 1471 Tenos A 1485 Mykonos A 1452 Athens
152-4
Publication
-
PGP,pI. 19
PGP, pI. 19 BSA 31, 28, no. 119, pI. 7 PGP, pI. 25
152-4 152-4 152-4
Mykonos A 1467 Athens
156-7
Athens
158-60
Athens, Vlasto coIl.
158-60
Athens, Vlasto coIl.
158-60
Athens
158-60
Volos
161-3
Volos
161-3
Tenos
165
-
Tenos
165
AM28, II4, among A 97-104 PGP, pI. 18
Thera
166-71
Mykonos A 1469 Tenos
166-71
BSA 31, 21, no. 42, pI. 3 BSA 31, 22, no. 51, pl. 4 PGRT39, no. 145, pI. 13 PGRT39, no. 144, pl, 13 BSA 31, 31, no. 135, pl. 9 PGRT82, fig. 25 PGRT82, pI. 24, left -
-
158-60
166-71
Delos xv, 59, Ae49, pl. 31, c
DeIos B 1.932
166-71
Ann. 8-9, 224, fig. 35, 9
Tenos A 1486
166-71
xx .
LIST OF PLATES· XXI
LIST OF PLATES
Plate no.
Local sryle
Date
Painteror Workshop
Shape
3411
Cyc1adic
MG
Cup
34j
Cyc1adic
MG
Oinochoe
Height incm* 8·6 32
34k
Cyc1adic
MG
Large skyphos
15'8
341
Cyc1adic
MG
Amphoriskos
12
34ffi
Cyc1adic
MG
Belly-handled amphora
73
Provenance oontext Tenos, Ktikados Rheneia, Purification Tr,
"Athens, Acropolis" Melos
Naxian
LG
Cesnola P
Ovoid krater
36a
Naxian
LG
Cesnola P
Oinochoe
35'7
Kourion, Cyprus
36b
Naxian
LG
Lekythos-oinochoe
17
Delos, Heraion Rheneia, Purification Tr. Rheneia, Purification Tr. Rheneia, Purification Tr. Rheneia, Purification Tr. Rheneia,
36c
36d
36e
37 a
37 b
Naxian
Naxian
Naxian
"Parian"
"Parian"
LG
LG
LG
LG
LG
Skyphos
Neck-handled amphora Neck-handled amphora Hydria
13. 8
42. 6
41'7
3 8'7
Neck-handled amphora
36
37c
"Parian"
LG
Hydria
36'5
37d
"Parian"
LG
Shoulder-handled amphora
42
31
37e
"Parian"
LG
Pedes tailed krater
37f
"Parian"
LG
3 8a
"Parian"
LG
Shoulder-handled amphora Skyphos
38b
"Parian',
LG
*exclusive oflids or high handles
Skyphos
50 7' I
12'7
Delos xv, 24, Aa 55, pI. 13
-
35
II5
Publication
Kourion, Cyprus
Purification Tr. Rheneia, Purification Tr. Thera, Messavouno Gr·3 Delos, Artemision Thera Delos, T. near Altar ofZeus Polieus Delos, Workshop of Kerdon
CVA,Munich 3,36-7, pI. 141, 1-2 Arias-HirmerShefton, 278, fig. 24 M yres, Cesnola csu. 288, no. 1702 Delosx,24, pI. 9, 37 Delosxv, 80, Bb41, pI. 39
Museum inv. no.
Ref.
Tenos
166-71
Mykonos
166-71
British School 166-71 at Athens A 108 London 166-71 55.12-20.1 Munich 166-71 6166 New York 74.51.9 65
172-4
New York 74.5 1.838
173-4
Delos B6.084 Mykonos
174-6
Delosxv, 86, Be I, pI. 42
Mykonos
Delosxv, 74, Bb 6, pI. 35
Mykonos
Local sryle
Date
Painteror Workshop
Shape
Height incm*
Provenance context Delos, T. near Altar ofZeus Polieus Delos, T. near Altar ofZeus Polieus Delos, T. near Altar ofZeus Polieus Delos, T. near Altar ofZeus Polieus Delos, T. near Altar ofZeus Polieus Rheneia, Purification Tr. Rheneia, Purification Tr.
Publication
178--S1
Delosxv, 60, Ae54, pI. 31 D
Delos B4· 20 1
178-81
Delosxv, 65, Ae84, pI. 32 A
Delos B 1.931
178--S1
Delosxv, 63, Ae74, pI. 31 E
Delos B 1.941
178--S1
Delosxv, 64, Ae78, pI. 31 E
Delos B 4.215
178--S1
Delosxv, 68,
Mykonos
178--S1
Mykonos
178--S1
London 37. 10-18. 1 ParisA491 (Campana 20) London MsC 2541 Thera British School at Athens Leiden RO 11168 Leiden RO III 84 Thera
182-4
Thera I I, 50, fig. 163
Thera
186-8
AM28, II9, A 164, BeiI.I4 Brants6, no. 9, pl. 5 CVA Copenhagen 2, 47, pI. 65, I
Thera
186-8
Leiden SVL2 Copenhagen Chr. VIII, 324
186-8
LG
Skyphos
38d
"Parian"
LG
Kantharos
12'5
38e
"Parian"
LG
Kantharos
10,8
38f
"Parian"
LG
Kantharos
13
38g
"Parian"
LG
Kantharos
38h
"Parian"
LG
Plate
38j
"Parian"
LG
Plate
V.25· 8
39 a-c
Melian
LG
Stand
15
-
39d
Melian
LG
Stand
20
Pettier I, 22,
3g e
Melian
LG
39f 39g
Melian Melian
LG LG
RottiersW
39 h
Melian
LG
Rottiers P
39j
Melian
LG
Rottiers P
40a
Theran
4 0b
5'8
D.25·4
174-6
M4, pI. 33 B Delosxv, 68, MI, pI. 33A
174-6
Mykonos
Delosxv, 18, Aa 16, pI. 5
Mykonos
Delosxv,17, Aa 7, pI. 4
Mykonos
178--S1
AM28, 187, J 16, BeiI. 30, 3 Delosxv, 36, ACI,pI. 19 JHS22,74, fig. 3 Delosxv, 57, Ae39, pI. 31 A
Thera
178--S1
Delosxv, 62, Ae72, pI. 31 D
Delos B 687
A49 1, pI. 19
178--S1
178--S1
High-rimmed bowl Skyphos Krater, fr.
8'3 6
178-81
Thera Melos
Belly-handled amphora Pedestalled krater
62
Melos?
50
Melos?
LG
Stamnos
37
Theran
LG
Skyphos
8
40C
Theran
LG
Plate
4 0d
Theran
LG
Amphora
48
Thera Sellada Gr.64 burial b Thera, Sellada Gr.64, burial a Thera, Messavouno Gr,29 Thera
40e
Theran
SubG
Amphora
73'5
Thera
177-8
British School 179 .atAthens Delos 178--S1 B 1.943
-
10
*exclusive oflids or high handles
D·32'5
Rej.
Delos B 1.937
"Parian"
7'9
Museum inv. no.
Delosxv,61, Ae61, pI. 31 B
38c
174-6
Delosxv,19, Aa 21, pI. 6
Delos B4·212
Plate no.
-
Branis8, no. 55, pI. 8 Branis8, no. 56, pl. 8 Them I I, 50, fig. 167
182-4
184- 5 184- 5 183- 4 182-4 182-4 186-8
188-g
xxii . Plate no.
LIST OF PLATES
Local style
Date
LIST OF PLATES •
Painter or Workslwp
Shape
Height incm*
4 1a
Euboean
LG
Skyphos
8'g
4 1b
Euboean
LG
Skyphos
9'7
4 IC
Euboean
LG
Jug, cut-away neck
4 Id
Euboean
LG
Shoulder-handled amphora
26
44'1
4 Ie
Euboean
LG
4 If
Euboean
LG
Pedestalled amphora Lekythos
4 1g
Euboean
LG
Aryballos
g'2
4 Ih
Euboean
LG
Kotyle
9'4
4 Ij
Euboean
LG
Lekythos-oinochoe
Provenance context Rheneia, Purification Tr. Lefkandi Lefkandi
Pithecusae
Eretria 17'5
13'5
Cumae, Gr·32 Cumae, Gr·32 Pithecusae
Cumae, Gr·32
Publication Delosxv,82 Bb5I, pI. 39 c ARfor Ig65---6, 10, fig. 14 Lefkandi (lg68),32, fig. 75 Metropoli e Colonie 268, fig.2a GSI65, fig. 26 MA 22, 242, pI. 40,7 MA 22, 242, pI. 40, 2 Metropoli e Colonie 268, fig. Id Metropoli e Colonie 26g, fig·4 a
42a
Boeotian
EG
Cup
6·8
4 2b
Boeotian
EG
Kantharos?
g'8
42C
Boeotian
EG
Ovoid pyxis
13'5
4 2d
Boeotian
EG
Skyphos
5"3
4 2e
Boeotian
EG
Skyphos
5'2
4 2f
Boeotian
EG
Oinochoe
16'5
42g
Boeotian
MG
Skyphos
7'4
Orchomenos, Gr. (Ig03) Orchomenos, Gr. (Ig03) Orchomenos, Gr. (lg03) Orchomenos, Gr. (Ig03) Orchomenos, Gr. (lg03) Orchomenos, Gr. (lg03) Vranesi
4 2h
Boeotian
MG
Miniature oinochoe
6
Vranesi
-
4 2j
Boeotian
MG
Mug
8·8
Vranesi
-
43 a
Boeotian
MG
58'5
43 b
Boeotian
MG
Neck-handled amphora Flat pyxis
43 c
Boeotian
MG
Flatpyxis
43d
Boeotian
MG
43 e
Boeotian
MG
Neck-handled amphora Neck-handled amphora
44 a
Boeotian
LG
*exclusive oflids or high handles
Kantharos
-
Museum inv. no.
Provenance context
Eretria LK/ 65/ P I77 EretriaLK/ 65/ P 163
IgQ-3
44 C
Boeotian
LG
Tall pyxis
Hd
Boeotian
LG
Oinochoe
44 e
Boeotian
LG
Skyphos
44 44g,j
Boeotian Boeotian
LG LG
Tall pyxis Pedestalled krater
33'5
44h
Boeotian
LG
Pedestalled krater
35
45 a
Boeotian
LG
Oinochoe
48'5
45 b
Boeotian
LG
Flatpyxis
II' 5
45 c
Boeotian
LG
60
"Eretria"
45 d
Boeotian
LG
Pedestalled amphora Pedestalled amphora
87
Thebes
Ig0-3
Naples
191-5
Naples
191-5
Ischia
Igl-5
Vranesi
-
41
Mavroneri, nr Chaeronea
-
-
Athens 1470
"Thebes"
7'5
"Near Thebes"
191-5
Ig7-8 Ig7-8 197-8 197-8 197-8
4 6a
Laconian
PG
Skyphos, fr.
4 6b
Laconian
PG
Oinochoe
46c
Laconian
PG
Skyphos, fr.
4 6d
Laconian
PG
Skyphos, fr.
4 6e
Laconian
MG
Amphora, fr.
4 6f
Laconian
MG?
Krater, fr.
4 6g
Laconian
LG
Krater, frs.
4 6h
Laconian
LG
Plate
4 6j
Laconian
LG
Deep cup or pyxis
4 6k
Laconian
LG
Deep skyphos
5 (PH) Amyc1ae
197-8 198-9 198-9 198-9 198-9 198-9 198-9
198-9 7g8-g
201-10
*exc1usive oflids or high handles
Sparta, Hereon Sparta, 13'2 (PH) Hereon Amyc1ae 4'5 (PH) Sparta, Chalkioikos Sparta, Chalkioikos Sparta, Artemis Orthia D.lg Sparta, Arternis Orthia 8 (PH) Sparta, Artemis Orthia Sparta, Chal9'5 kioikos (PH) 19'5
Ref·
London IgI0.1O-13·1
201-10
-
Hanover 1897· 8a (destroyed) Boston 97·3 60
201-10
-
201-10
Athens, private possession Athens 14708 Athensl28g6
201-10
Private possession Copenhagen 537 1
201-10
Hanover 1957·84
201-10
Athens 18553
200-10
Arias-Hirmer-
Athens 5893
200-10
Shefton 273, pI. I I AM52, pl. 2, g; pl. 3,10-11
Sparta
212-14
-
Sparta
212-14
A 0 59, fig. 32
Sparta
212-14
AM52, pl. 2,13
Sparta
212-14
-
Sparta
214-1 5
-
Sparta
214-1 5
A065, pI. 39 Q.
Sparta
215-19
AO 61, fig, 34
Sparta
215-19
A063, fig, 37 H
Sparta
2I5-19
RSA 13,125, fig·5 a
Sparta
2I5-19
-
Thebes
Museum inv. no.
HampeFGS, pI. 25, I (other side)
Fairbanks 86, no. 286, pl. 24
33' I
Ig0-3
Athens 12856
Naples
10
Publication
Ig0-3
Ischia
46
-
Height incm*
Kantharos
-
-
Shape
LG
"Near Thebes"
-
Painter or Workslwp
Boeotian
II·8
-
Date
44 b
-
-
Local style
Ig0-3
Vranesi
6'4
-
Plate no.
Mykonos
Chaeronea 148a Chaeronea 148 Chaeronea 149 Chaeronea 14¥ Chaeronea 144b Chaeronea 100 Chaeronea 159 Chaeronea 143 Chaeronea 153a London 1955·10-n.1 Chaeronea 160 Athens, ~ private possession Chaeronea 164 Chaeronea
-
Rej.
xxiii
HampeFGS, pl. 2g, I (other side) Sotheby 6.7.1964, I CVACopenhagen 2, 49, pl, 67, 3 Woldering, KestnerMuseum I B89- If}64, 71 -
201-10 201-10
201-10
xxiv . Plate no.
LIST OF PLATES •
LIST OF PLATES
Local style
Date
Painteror Workshop
Shape
Height incm*
Provenance context Sparta, Artemis Orthia Sparta, Artemis Orthia Amyclae
4 61
Laconian
LG
Deep cup or pyxis
46m
Laconian
LG
Lakaina
46n
Laconian
LG
Pyxis
22
460 46p
Laconian Laconian
LG LG
Krater, fr. Krater, fr.
47 a
Ithacan
PG
Cup
18 (PH) Amyclae Sparta, Artemis Orthia Aetos, cairns 6'5
47 b
Ithacan
47 c
Ithacan
47d
Ithacan
PG
Krater, fr.
8 (PH) Aetos, cairns
47 e
Ithacan
PG
Kantharos (or cup), fr.
7 (PH) Aetos
PG
Skyphos
PG
Kantharos, fr.
47f
Ithacan
PG
Lekythos, fr.
47g
Ithacan
PG
Jug, fr.
12'5
6·
I
19
Aetos, cairns
8 (PH) Aetos, cairns
Aetos, cairns
9 (PH) Aetos
47h
Ithacan
PG
Kantharos, fr.
4 8a 4 8b 4 8c
Achaean Achaean Achaean
PG PG PG
Kantharos Kantharos Kantharos
13'5 15'5 r r- 5
Derveni, Gr. Derveni, Gr. Derveni, Gr.
48d
Achaean
PG
Kantharos
8'3
Derveni, Gr.
4 8e
Achaean
PG
Skyphos
9'1
Derveni, Gr.
4 8f
Achaean
PG
Pedestalled skyphos
14
Derveni, Gr.
4 8g 4 8h
Achaean Achaean
PG PG
Kantharos Kantharos
13'3 Il '5
Derveni, Gr. Derveni, Gr.
4 8j
Achaean
PG
Oinochoe
26
Derveni, Gr.
*exclusive oflids or high handles
7 (PH) Aetos, cairns
Publication
Museum inv. no.
Plate no.
Ref.
Local style
Date
Painteror Workshop
Shape
Height incm*
Provenance context
Sparta
215-1 9
49 a
Ithacan
MG
Globular pyxis
22'4
Aetos
BSA 34,102, pl. 20e
Sparta
215-1 9
409b
Ithacan
LGI
Jug
31
Aetos
Jd! 14, 84, fig. 42
Athens 234
215-1 9
49 c
Ithacan
LGI
Pedestalled krater
21
Aetos
Sparta Sparta
215- 19 215-1 9
49 d
Ithacan
LGI
Skyphos
12
Aetos, Lower Deposit
4g e
Ithacan
LGI
Kantharos
12
Aetos
49f
Ithacan
LGI
Kantharos, fr.
9 (PH) Aetos
49g
Ithacan
LGI
Cup
7
49 h
Ithacan
LGI
Oinochoe
18
Aetos, Lower Deposit
49j
Ithacan
LGI
Oinochoe
24
Aetos, Lower Deposit
49 k
Ithacan
LGI
Oinochoe, fr.
16 (PH) Aetos, Lower Deposit
5 0a
Ithacan
LGII
Kantharos
13
BSA 34, Ill, pl. 23f BSA 33, 45, no. 54, fig. 18 BSA 33, 40, no. 13, fig. 10 BSA 33,43, no. 16, fig. 13 BSA 33, 43, no. 34, pI. 3 BSA48,270, P.134, fig. 6 BSA 33, 50, no. 75, fig. 26 BSA48,270, P.146, fig. 6 BSA 33,43, no. 18, fig. 15 -
AJA 64,16, no. 54, pI. 5, fig. 39 AJA 64,16, no. 55, pI. 5, fig. 39 AJA 64,16, no. 53, pl. 5, fig. 39 AJA 64,16, no. 56, pI. 5, fig. 40 AJA 64,16, no. 57, pI. 5, fig. 40 AJA 64,16, no. 51, pl. 5, fig. 38
Vathy (Ithaca)
221-3
Vathy (Ithaca)
221-3
Vathy (Ithaca)
221-3
Vathy (Ithaca) Vathy (Ithaca)
221-3
Ii
221-3
Vathy (Ithaca)
221-3
Vathy (Ithaca)
221-3
Aetos
Aetos, Upper Deposit
Vathy (Ithaca)
221-3 50b
Ithacan
LGII
221-3 221-3 221-3
Lekythos-oinochoe, fr.
15 (PH) Aetos
Patras Patras Patras
5°c
Achaean
LGII
Kantharos
13
Pharae, Gr.A
Patras
221-3
5 0d
Achaean
LGII
Kantharos
13
Pharae, Gr.A
Patras
221-3
50e
Achaean
LGII
Kantharos
9
Pharae, Gr. r
Batras
221-3
5 of
Achaean
LGII
Kantharos
10
Pharae, Gr.A
Patras Patras
221-3 221-3
5 0g
Achaean
LGII
Jug
25
Pharae, Gr. r
5 0h
Achaean
LGII
Jug
21' 5
Patras
221-3
Pharae, Gr. r
*exclusive oflids or high handles
Publication
BSA48,300, no. 818, pI. 50 BSA43,75, no. 414, pl. 27 BSA48,297, no. 802; JHS70,9, fig. 5 BSA43,60, no. 28o, pI. 16 BSA 43,63, no. 306, pl. 18 BSA48,292, no. 76o, pl. 47 BSA48,294, no. 778, pl. 44BSA43,75, no. 432, pl. 29 BSA43,79, no. 471, pI. 33 BSA43,79, no. 473, pI. 33 BSA43,67, no. 358 pI. 23 BSA48,323, no. 1020, pl. 48 PAE 1952, 40 1-2,A4, fig. 12 PAE 1952, 4 02,A5, fig. I I PAE 1952, 405, r 2, fig. 20 PAE 1952, 402, A 7, fig. IQ PAE 1952, 405, r 4, fig. 22 PAE 1952, 405-6, r 5, fig. 22
Museum inv. no.
xxv
Rif.
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
223-8
Vathy (Ithaca)
228-32
Vathy (Ithaca)
228-32
Patras
228-32
Patras
228-32
Patras
228-32
Patras
228-32
Patras
228-32
Patras
228-32
LIST OF PLATES • XXVll
XXVI • LIST OF PLATES
Plate no.
Local style
Date
Painteror Workshop
Shape
Height incm*
5 1a
Cretan
PGB
Hydria
27'7
5 1b
Cretan
PGB
Lekythos
14'5
5 1c
Cretan
PGB
Oinochoe
11
5 1d
Cretan
PGB
Pyxis
11
5 1e
Cretan
PGB
Cup
5 1£
Cretan
PGB
Necked pithos
42
5 1g
Cretan
PGB
Straight-sided pithos
41
5 2a
Cretan
EG
Two-handled pithos
62
5 2b
Cretan
EG
38
5 2C
Cretan
EG
Straight-sided pithos Neck-handled amphora
8
58. 6
5 2d
Cretan
EG
Pedestailed krater
7°
53 a
Cretan
MG
Four-handled pithos
42
53 b
Cretan
MG
Cup
14
53c
Cretan
MG
Mug
10
53d
Cretan
MG
Pyxis
7. 8
53e
Cretan
MG
Aryballos
6
53£
Cretan
MG
Hydria
29
53g
Cretan
MG
Oinochoe
39
53h
Cretan
MG
33'5
54 a,b
Cretan
LG
Neck-handled amphora Four-handled pithos
Cretan Bird P
54c
Cretan
LG-EO Cretan Bird P
54 d
Cretan
LG
54e
Cretan
LG
*exc1usive oflids or high handles
Cretan Bird W
46
Four-handled pithos (detail) Cup
Krater
10
24'5
Provenance context Fortetsa, T.X Fortetsa, T.OD Fortetsa, T.OD Fortetsa, T.OD Fortetsa, T.X/3 Fortetsa, T.II/21 Fortetsa, T.P Teke, Platon's T Fortetsa, T. TFT/35 Fortetsa, T.A Teke, Platon'sT Fortetsa, T.X/83
Publication
F 51, no. 493, pI. 29 F 37, no. 356, pI. 26 F37,no·35 1, pI. 26 F 38, no. 369, pI. 26 F 46, no. 434, pI. 35 F93, no. 1016, pI. 60 F 125, no. 1440, pis. 77, 163
F 65, no. 706, pl. 40 BSA 56,71-2, A I, fig. 4, pI. 8
-
F52, no. 530-1, pI. 30 Fortetsa, F 58, no. 611, T. vlu/6 pI. 39 Fortetsa, F 75, no. 838, pI. 50 T. VU/13 F61, no. 643, Fortetsa, T. TFT/I pI. 45 F 63, no. 666, Fortetsa, T.TFT/12 pI. 45 Teke, BSA49,225, TbolosT no. 24, pI. 21 Ann. 10-12, Milatos 580,fig. 623 Fortetsa, F 49, no. 476, T.X pI. 35 F 118, Fortetsa, no. 1366, T. P/63 pI. 85 FI26, Fortetsa, no. 1441, T. P/73 pls, 86, 163 Fortetsa, F 119, no. 1369, T. P/63 pI. 102 Knossos, BSA55, Geom. 163- 4, Well fig. 6, pI. 44
Plate
Museum inv. no. Herak1eion 14792 Herakleion 12835 Herakleion 12831 Herakleion 12861 Herakleion 14715 Herakleion 13662 Herakleion 12433 Herakleion 12076 Herakleion 14889 Herakleion 1097° Herakleion 12149 Herakleion 14768; lid 14767 Herakleion 13 159 Herakleion 14956 Herakleion 14884 Herakleion 14823 Herakleion
no.
Local style
Date
Painteror Workshop
Shape
Height incm* 4°'5
Provenance context
Publication
54£
Cretan
LG
Two-handled pithos
55a
Cretan
LG
Aryballos
6'5
55 b
Cretan
LG
Aryballos
7'5
55C
Cretan
LG
Lekythos
9'5
55 d
Cretan
LG
Kotyle
7'9
55 e
Cretan
LG
Lid
D.22
55£
Cretan
LG
Lid
D.25"5
55g
Cretan
LG
Skyphos
55h
Cretan
LG
239-4 1
55j
Cretan
LG
Neck-handled amphora Oinochoe
242-4
55k
Cretan
LG
Cup
551
Cretan
LG
Cup
11
56a
South Cretan South Cretan South Cretan
EG
Straight-sided pithos Ovoid pithos
53'6
Straight-sided pithos
3°
42
Adhromyloi
10'3
Kavousi
-
-
235-8
Fortetsa, T. vu/8
F 74, no. 824, pI. 51
235-8 235-8 235-8 235-8 235-8 235-8
239-4 1 239-4 1 7'3
239-4 1 30 22·8 7'2
242-4 24 2-4 56b 24 2-4 56c-d 24 2-4 242-4
Herakleion
24 2-4
Herakleion 1479° Herakleion 12436
24 2-4
Herakleion ~ 12439
246-9
Herakleion 12644
247-9
Knossos
249-55
SubG LG
33'2
Fortetsa, F 75, no. 832, T. VU/II pI. 50 Fortetsa, F 68, no. 738, T.F pI. 49 Fortetsa, F 74, no. 829, T. vU/9 pI. 50 Knossos, Geom. Deposit in Road Trials 1960 Fortetsa, F 57, no. 593, T. vm/4 pI. 39 Fortetsa, F 40, no. 401, T.L pI. 146 Fortetsa, F 93, no. 1006, T. u/19 pI. 73 Fortetsa, F 63, no. 673, T.TFT pI. 43 Fortetsa, F91, no. 977, pI. 70 T. u/13 Fortetsa, F 92, no. 989, T.u/15 pI. 73 Fortetsa, F94, no. 1025, T.U/22 pI. 73 Ann. 10-12, Arkades, T.L 35 2,fig·460 Ann. 10-12, Arkades, T.R 259,fig, 312 Ann. 10-12, Arkades, T.R 247, fig, 292
56e
Eteocretan
57a
Eteocretan
Straight-sided pithos Skyphos
57b
Eteocretan
Skyphos
9
Kavousi
57c
Eteocretan
Skyphos
9
Adhromyloi
57d
Eteocretan
Skyphos
10
Adhromyloi
57e
Eteocretan
Skyphos
I I
57£
Eteocretan
Skyphos
11
Piskokephalo
57g
Eteocretan
Oinochoe
28'5
Piskokephalo
57h,j
Eteocretan
Cup
16·6
Kavousi
57k
Eteocretan
Krater
28
Vrokastro, Room 12
246-9
*exc1usive oflids or high handles
'9
Adhromyloi
BSA 12,45, fig. 28
BSA 12,45, fig. 22 BSA 12,43, fig. 21 BSA 12,48, fig. 21 PAE1953, 294,fig·4 PA E 1953, 293, fig. 3
Vrokastro 107, fig. 61
Museum in», no. Herakleion 14923; lid 14919 Herakleion 14921 Herakleion 1309 1 Herakleion 14955 Knossos
Herakleion 13163 Herakleion 12944 Herakleion 13179 Herakleion 14863 Herakleion 137°2 Herakleion 13175 Herakleion 13692 Herakleion 8126 Herakleion 8008 Herakleion 80 3 1 ; lid 8032 Herakleion 3 180 Herakleion 747 Herakleion 745 Herakleion 3244 Herakleion 2225 Herakleion 2222 Herakleion 12086 Herakleion 12284 Herakleion 741 Herakleion 6644
ReI. 249-55
249-55 249-55 249-55 249-55
249-55 249-55 249-55 249-55 249-55 249-55 249-55 255-7 255-7 255-7
25g-61 25g-61 259---{) I 25g-61 259---{) I 259--61 25g-61 25g-61 25g-61 25g-61
LIST OF PLATES· XXIX
XXV111 • LIST OF PLATES
Plate no.
Local style
Date
Painteror Works/wp
Shape Neck-handled amphora Hydria
Height incm*
Provenance context
3 1'3
Adhromyloi
37
Kavousi
22
Kavousi
56
Ialysos, Marmaro Gr·43 Ialysos, Marmaro Gr·43 Ialysos, Marmaro Gr·43 Ialysos, Marmaro Gr·43 Cos, Serraglio Gr. I Cos, Serraglio Gr. 7 Cos, Serraglio Gr. 7 Cos, Serraglio Gr. 27 Cos, Serraglio Gr. I Cos, Serraglio Gr. I Cos, Serraglio Gr. I Camiros, Acropolis Gr.80 Camiros, Acropolis Gr.80
571
Eteocretan
57 m
Eteocretan
57 n
Eteocretan
5 8a
Dodecanesian
EG
58b
Dodecanesian
EG
Amphoriskos
17
58c
Dodecanesian
EG
Amphoriskos
17·5
58d
Dodecanesian
EG
Skyphos
5 8e
Dodecanesian Dodecanesian Dodecanesian Dodecanesain Dodecanesian Dodecanesian Dodecanesian Dodecanesian
EG
Oinochoe
EG
Pyxis
58f 58g 59 a 59 b 59 c 59 d 5g e
59 f
Dodecanesian
EG MG MG MG MG MG
MG
Straight-sided pithos Belly-handled amphora
Neck-handled amphora Amphoriskos Lekythos Lekythos Skyphos Oinochoe
Lekythos
59g
Dodecanesian
MG
Pedestalled krater
59h
Dodecanesian
MG
Lekythos
6
21'3 9. 6 23. 6 16'9 13'5 22·8 7. 8 12
12
34
25
Camiros, Acropolis Gr.80
Museum inv. no.
Publication
Ref.
60b 60c 60d
60e
Dodecanesian Dodecanesian Dodecanesian Dodecanesian Dodecanesian
MG
Oinochoe
27
MG
Oinochoe
43
MG
Kantharos
13'2
MG
Cup
12'5
MG
Pedestalled krater
*exclusive oflids or high handles
55'5
Cos, Pizzoli Gr.6 Exochi, Gr. V Exochi, Gr.V Camiros, T.82 Camiros
Provenance context
16 (PH) Smyrna, House XLI Exochi D·38
259-61
60g
MG
Tray
259-61
61a
Dodecanesian Rhodian
LG
Bird-kotyle W
Jug
22·8
Camiros
61b
Rhodian
LG
Bird-kotyle W
Oinochoe
27
61c
Rhodian
LG
Bird-kotyle W
Kotyle
265-7
61d
Rhodian
LG
Bird-kotyle W
Kotyle
265-7
61e
Rhodian
SubG
Rheneia, Purification Tr. Ialysos, Gr·5 0 Thera, Sellada Gr.17 Delos, Artemision
61f
Rhodian
LG
Bird and ZigzagP
Oinochoe
39
Camiros
61g
Rhodian
LG
Skyphos
10
Siana
61h
Rhodian
LG
Bird and ZigzagP Bird and ZigzagP
Kantharos
12·6
Siana
62a
Rhodian
LG
Pyxis
17
62b
Rhodian
LG
Aryballos
62C
Rhodian
LG
Kantharos
62d
Rhodian
LG
Kotyle
9'7
62e
Rhodian
LG
Kotyle
9'3
62f
Rhodian
LG
Oinochoe
24'5
62g
Rhodian
LG
Oinochoe
22
62h
Rhodian
LG
27
63 a
Rhodian
LG
Pedestalled kantharos Pedestalled krater
Camiros, Gr.85 Camiros, Gr·45 Exochi, Gr.B Exochi, Gr.L Exochi, Gr.D Exochi, Gr.D Exochi, Gr.D Exochi, Gr.A Exochi, Gr.C
63 b
Coan
LG
Oinochoe
267-73
63 c 63 d
Smyrnaean Milesian
LG LG
Kotyle Fr.
267-73
63 e
Coan
LG
Oinochoe
267-73
63 f
Smyrnaean
LG
Krater, fr.
63g
Chiot
LG
Krater, fr.
CR8,161-4, fig. 149
Rhodes 15535
CR8,161-4, fig. 149
Rhodes 15537
-
Cos 409
-
Cos 478
265-7
Cos 477
265-7
Cos 774
267-73
Cos 407
267-73
Cos 406
267-73
-
Cos 413
267-73
CR6-7,192, no. 6, fig. 231 CR 6-7,192, no. 6, fig. 230 CVAHeidelberg, 3, 63, pI. 122,2 CR6-7, 189-91 ,
Rhodes 14090
267-73
Rhodes 14088
267-73
Heidelberg M7
267-73
Rhodes 14081
267-73
Cos 963
267-73
265-7
265- 7
Bird-bowl
10
5"8
8'1 15
45
I,
fig. 225 60a
Height incm*
Krater, fr.
265-7
no.
Shape
MG
Rhodes 15534
-
Painteror Workshop
Ionic
CR8,161-4, fig. 149
-
Date
60f
Herakleion 3 184 Herakleion 697 Herakleion 699 Rhodes 15533
-
Local style
259-61
BSA 12,44, fig. 21 Ann. 10-12, 580, fig. 624 Ann. 10-12, 586,fig.633 CR8,161-4, fig. 149
-
Plate no.
-
~
Exochi 49, V I, Copenhagen figs. 111-12 12451 Exochi 52, V 3, Rhodes (lost) fig. 115 Rhodes CR 6-7, 194-8, no. 4, 14737 figs. 236-8 London Exochi 102-3, fig. 203 61.4-25.5 1
267-73
*exclusive oflids or high handles
Cos,Ay. Pantaleon Smyrna 10'2 4 (PH) Miletus Cos, Serraglio Gr. 14 22 (PH) Smyrna 25
23 (PH) Chios, Emporio
Publication BSA 53-4, pI. 5C Exochi66, Z I, fig. 137 Exochi118, n.146, fig. 209 Delos, xv, 97-8, Rh I, pl. 46A CR 3, 84, no. I. Thera 11, 30, fig. 80
Museum inv. no. Izmir
267-73
Rhodes (lost) London 60.4-4. 10
267- 73 277-9
Delos B.1958
277-9
Rhodes 11642 Thera
277-9
Delosxv, 101, Delos Rh 26, pI. 47E London Exochi 91, 85. 12-13.6 n·4 2, fig. 197 Oxford LindosI, 248, 1885.622 fig. 30 Oxford Lirulos I, 247, 1885.621 fig. 29 Rhodes CR6-7, 203, fig. 243 14749 Rhodes CR 6-7,132, fig. 148 14079 Rhodes Exochi 25, B 3 (lost) fig. 40 Exochi44, L I, Copenhagen 1244 8 fig. 100 Rhodes Exochi38, (lost) D 16, fig. 72 Exochi, 29 D 7, Rhodes (lost) fig. 68 Exochi36, D 9, Copenhagen 12439 figs. 73-4 Exochi 14, A 2, Rhodes (lost) fig. 8 Copenhagen Exochi25-6, 12432 Cl, figs. 46-8 Cos Bd'A 35, 321, fig. 95 Izmir Izmir 1M9-1O,58, pl. 60, 2 Cos 528 BSA 53-4, pl. 5d Greek Emporia Ill, no. 35, pl. 21
Ref.
277-9
299
280-1
280-1 280-1 275-7 275-7 281-6 281-6 281-6 281-6 281-6 281-6 281-6
28 7-8 297 296 287--8
Izmir
297
Chios
294-5
xxx . Plate TW.
LIST OF PLATES
Local style
Date
Painter or Workslwp
Shape
Height in cm*
64a
Samian
LG
Skyphos
9
64b
Samian
LG
Skyphos
7·2
64c 64d
Samian Samian
SubG LG
Skyphos Cup
10·8
64e
Samian
LG
Cup
II
64
Samian
LG
Olpe
II ·8
64g
Samian
SubG?
Pedestalled kra teriskos
64h
Samian
LG
Kantharos, fr.
64j 64k
Samian Samian
SubG SubG
Jug Kantharos, fr.
641
Samian
SubG
Tray, fr.
*exclusive oflids or high handles
29·5
D.22
Provenance context Heraion, First Inundation deposit Heraion, First Inundation deposit Heraion Heraion, We1IF Heraion, WellF Heraion, WellF Heraion, First Inundation deposit? Heraion Heraion Heraion, Fill under Altar V Heraion Fill under Hekatompedos 11
Museum Publication
in», TW.
AM72,4°, Beil.53, 1
Samos
290-3
AM72,4°, Beil·53,2
Samos K2011
29ll-3
Samos Samos
290-3 290-3
Samos
290-3
Samos
290-3
Samos K1511
290-3
Samos K76 Samos Samos K805
290-3
Samos K802
290-3
AM74,13, Beil.14,2 AM74,13, Beil. 14, 1 AM74,13, Beil. 16, 1 AA 1937, 207, fig. 2 AM54, 15-16, pI. 2 A M 58, 97fl"., figs. 40-1, Beil.28-g AM58, II3, fig. 54e, Beil·33,3
290-3 290-3
Acknowledgements
First and foremost, it is a pleasure to record my deep gratitude to the Managing Committee of the British School at Athens, where I held the Macmillan Studentship from 1957 until 1960; during those years I was privileged to make the School my centre ofoperations while gathering the material for this survey. To many scholars and institutions I should like to express my thanks for their kind permission to illustrate material not previously published: namely, to Mrs S. Karouzou in respect of thirteen vases in the National Museum ofAthens; to Dr E. M. Hatzidakis in respect ofone vase in the Benaki Museum, Athens; to Prof. J. L. Benson in respect oftwo vases from the Potters' Quarter at Corinth; to Lord William Taylour and Mr V. R. d'A. Desborough in respect ofseven vases from Mycenae; to Prof. E. Kunze in respect of six vases from Orchomenos, one from Tiryns, and one from Amyclae; to the late Dr J. Threpsiades in respect of seven vases in the Chaeronea Museum; to Prof. N. Kondoleon in respect offive vases in the Tenos Museum, and one in the Thera Museum; to Prof. Ch. Christou in respect of four vases in the Sparta Museum; to Dr St. Alexiou in respect of five vases in the Herakleion Museum; to Prof. N. Platon in respect of two vases from Teke near Herakleion; to the British School at Athens in respect ofone vase from recent excavations at Knossos, and five in their collection at Athens; to Prof. L. Morricone in respect ofnine vases from Cos; to Mr G. Konstantinopoulos in respect of one vase from lalysos; to Prof. H. Waiter in respect of two vases from Samos; to Prof. J. M. Cook and Prof. E. Akurgal in respect ofone vase from excavations at Old Smyrna; to Mr D. E. L. Haynes and the Trustees ofthe British Museum in respect ofseven vases; to Mr R. V. Nicholls and the Syndics of the Fitzwilliam Museum in respect oftwo vases; to Dr H. W. Catling and the Visitors of the Ashmolean Museum in respect oftwo vases; to Prof. C. M. Robertson in respect ofone vase in the collection ofUniversity College, London; to Mr P. Devambez in respect ofone vase in the Musee du Louvre; to Dr M. Schliiter in respect oftwo vases in the Kestner-Museum, Hanover; to Dr E. Rohde in respect ofone vase in the StaatlicheMuseen, East Berlin; and to Dr J. R. Green in respect of one vase in the University of Otago Museum, Dunedin. In addition, I have benefited greatly from the kindness ofthe many scholars whose names follow, who have generously permitted me to examine and refer to material still unpublished. In the Athenian Agora, Prof. E. L. Smithson and Dr E. T. H. Brann made available tome all the Geometric pottery in their care. To the late Dr J. Papadimitriou I am grateful XXXI
xxxii . ACKNOWLEDGEMENTS for the opportunity ofstudying eight unpublished grave groups found at Vari in 19S7, and material in the museum ofChalcis. Prof G. E. Mylonas allowed me to examine unpublished vases from the older excavations at Eleusis, and I am indebted also to Prof P. P. Kahane for information concerning their contexts in the various grave groups mentioned in 18g8 by Skias. Furthermore, my thanks are due to Prof. Sp. Marinatos for access to material from Volimedia in Messenia: to Prof. N. Kondoleon for access to material from Kimolos; to the late Dr N. M. Verdelis for access to material from Kapakli near Volos; and to Dr N. Yialouris for access to material in the museums ofOlympia and Patras. Finally, I should like to express my extreme gratitude to members ofthe Greek Archaeological Service in general, for their constant assistance, kindness, and courtesy at all stages in the preparation of this book. Through their kind offices I have been enabled to study Geometric pottery in the museums of Andros, Argos, Athens (National, Agora, and Kerameikos), Ay. Nikolaos, Chaeronea, Chalcis, Chios, Corinth, Cos, Delos, Delphi, Eretria, Herakleion, Ithaca (Stavros and Vathy), Khania, Kimolos, Kythera, Melos, Mykonos, Nauplia, Olympia, Patras, Rhodes, Samos, Sparta, Tenos, Thera, and Volos. Across the Aegean, material from the Anglo-Turkish excavations at Old Smyrna was made available to me through the kindness ofthe excavators, Prof.]. M. Cook and Prof E. AkurgaI. In pursuit of the first western Greeks I have paid several visits to Ischia, where Dr G. Buchner has most kindly shown and discussed with me his remarkable finds from the colony of Pithecusae. I am grateful also to Prof. Bernabo Brea for facilities of study in the museums of Syracuse and Lipari. In pondering the many problemsarising from Geometric pottery, I have benefited greatly from the expert advice and counsel of many scholars, although the responsibility for all statements and opinions in this book remains mine alone. In particular I would like to thank Pro£. A. Andrewes, Dr]. P. Barron, Pro£.]. L. Benson, Miss S. Benton, Mrs]. M. Birmingham, Mr]. Boardman, Dr]. Bouzek, Dr E. T. H. Brann, Mr]. K. Brock,Dr G. Buchner, Dr ]. Close-Brooks, Pro£. ]. M. Cook, Prof R. M. Cook, Prof. P. E. Corbett, Prof. P. Courbin, Prof.]. M. Davison, Mr V. R. d'A. Desborough, Prof. C. W.]. Eliot, Dr R. A. Higgins, Mr M. S. F. Hood, Prof. G. L. Huxley, Dr L. H. ]effery, Prof. P. Kahane, Prof. E. Kunze, Miss E. Macnamara, Mrs K. R. Maxwell-Hyslop, Mr P.]. Parr, Mr D. Ridgway, Pro£. C. M. Robertson, Pro£. E. L. Smithson, Miss ]. du P. Taylor, and Prof T. B. L. Webster. I am especially grateful to Prof G. L. Huxley who assumed the onerous task of reading the proofs: he brought to my notice many errors and inaccuracies, but for those that remain I accept full responsibility. My warmest thanks are also due to Miss]. Price ofMethuen, and to Miss M. Newland Smith of The Broadwater Press, for their unfailing patience and kindness in dealing with this book at all stages of its production. Finally, I should like to thank the Craven Fund of Cambridge University for a generous grant towards the expenses of illustration. .
I am indebted to Prof. K. F. ]ohansen for permission to reproduce drawings from Exochi (PIs. fioc-d.g ; fizb-c.e-Eh; 6sa); to Dr G. Buchner for two figs. from Metropoli e Colonie
ACKNOWLEDGEMENTS· xxxiii (PIs. Igj and 4Ih); to the late Dr N. M. Verdelis for two figs. from PGR T (PI. 3Sf-g); and to the British School at Athens for PIs. 47f and S4e. The following scholars and institutions have kindly supplied me with photographs, and have courteously permitted me to reproduce them: Akerstr6m, Pro£. A. ATHENS American School of Classical Studies: Agora excavations: photographs by Alison Frant; Corinth excavations Benaki Museum British School of Archaeology: Emporio (Chios) excavations Knossos excavations Lefkandi excavations Mycenae excavations Smyrna excavations Sparta excavations Deutsches archaologisches Institut: Kerameikos excavations Samos excavations Tiryns excavations mise. Ecole Francaise ; Argos excavations National Museum BERLIN (East), Staatliche Museen BOSTON, Museum of Fine Arts CAMBRIDGE, Fitzwilliam Museum Cook, Mr B. F. COPENHAGEN, Nationalmuseet DUNEDIN, University ofOtago Museum: photograph by R. M. Cook Frantz, Miss Alison HANOVER, Kestner-Museum HEIDELBERG University, archaologisches Institut HOBART, University of Tasmania Museum ISCHIA, Lacco Ameno, Museum B
PI. 4 1e
PIs. la-j,l-p; 7b-c; ga-n; IOj-l; I le; ISf-g,1 PIs. I6a-b,d-e; I 7a,d,f-j; I8c,g; Iga-c; z ra.e.k PI. Igf PI. 6Sg PIs. S2C; S4c-d ; SSd,g,1 PI. 41b-e PIs. 22a-h; 2sa-h; 2sc-f; Slg PIs. 60f; 6sc,f PI. 46p PIs. za-h ; sa-l,n; 4a-d; sa-g; roa-h; Isa-e,m-p PI. 64a-1 PIs. 24e-h; 2Sg-h; 3le-f PIs. 6; 7d; IIg; 2gf; 30d; Sla-d,h; 33c-d PIs. 24a-j; 2sa-b; 26; 28c; 2gc,e; soe; S rj PIs. 12a, ISC PI. 14c PI. 44d PIs. 3m; Ise-f PIs. 21d; S7f PIs. 40e; 4Sa; 60b; 62d,g PI. 8e PI. 4Sd PIs. 44C; 4Sb PI. Sgg PI. 12f PI. 41d
xxxiv . ACKNOWLEDGEMENTS ISTANBUL, Deutsches archaologisches Institut, Miletus excavations LEIDEN, Rijksmuseum van Oudheden LONDON British Museum Sotheby and Co. University College London Morricone, Prof. L MUNICH, Antikensammlung NAPLES, Muzeo Nazionale NEW YORK, Metropolitan Museum OXFORD, Ashmolean Museum PARIS, Musee du Louvre: photographs by M. Chuzeoille RHODES, Archaeological Museum
PI. 63d Pis. I Ia-b; zoh; 39h-j; 40d Pis. 13b,d; I4a-b; 2Ib,f,j; 341; 39a-c; 44b; 6oe; fira.f PI. 44h (by kind permission of the owner) PI. 8g Pis. 58e-g; 59a-d; 6oa; 63b,e Pis. 8d; 19d,j; 34m Pis. 21C; 4If-g,j Pis. 35; 36a Pis. 12e; 15h; 16c; firg-h Pis. 4e-h; 7a; 8a; rzb-c; 14d; 39d PI. 61c
Abbreviations
AA AAA AAS AASOR AD ADChr AE Aegina AHII Aigina AION AJ AJA Akurgal, Smyrna
Albizzati AM Ann. Annales Annali AntAb AntClass AntK AO APES
AR ArchClass Anas-Hirmer-Shefton
Archaologischer Anzeiger Athens Annals if Archaeology Annales Archiologiques de 0Jirie Annual if the American Schools if Oriental Research 'APXQlOAOYIKOV ~EATiov. From 1960, MfPOC; A: MEAfTQI 'APXQlOAOYIKOV ~EATiov. MfPOC; B: XpOVIKCt 'APXQlOAOYIKr; 'E the last two designs have an old-fashioned look at this time. More typically Argive is a new motif, where eight-pointed stars alternate with groups of verticals (pI. 24e).3 This is the only panel design which is ever carried as far as the handles: in its M G I form, the rays of the stars always touch the frames enclosing them. Inside the panel, ancillaries are rarely added to the main motif, except on the largest vases. 4 Cross-hatched triangles occupy the shoulder of the lekythos-oinochoe, the aryballos, and both types of lug-handled pyxis; on these shapes, subsidiary zones are sometimes added below." Yet on vases where ornament is placed in window-panels, there are no subsidiary zones: the glaze on the rest of the surface is interrupted only by groups of reserved lines; these are more numerous than in E G I I, usually amounting to three or four on amphorae and oinochoai: kraters, too, have their lower glaze broken up in this way. On two vases, however, we see the experimental use of continuous fine banding over a large area;" this idea was to be exploited much more frequently in the next phase.
I
MG II
121
30-I ; oinochoe, C 32; pyxis, C 43; kantharos, C 33; cup, C 29; handmade amphora, C 16. PI. 25a-b.
NOTE My MG II phase includes Courbin's 'GM 2', but begins a little earlier. Among the innovations ofMG II I include (i) the first regular use of the multiple brush, for the bars inside the lips of skyphoi (Argos C 838, 2477; cf. CCA 84--6); and (ii) the first appearance of the shoulder-panel on amphorae and oinochoai (pI. 24f,j). Both of these features arrive towards the end of Courbin's 'G M I', in groups which I call transitional between MG I and II: Argos, Grs. 90/2 and I9I.
In contrast to the stagnation of the previous phase, the Argive style now progresses at a more lively pace. At last the local potters are breaking free ofAttic influence, and producing more individual shapes of their own; and as the decoration becomes increasingly complex, we see the beginning of the transition to a light-ground style, and the first groping experiments in figured drawing.
ARGIVE MIDDLE GEOMETRIC: SECOND PHASE (MG 11) SHAPES SIGNIFICANT GROUPS
Tiryns, Gr. 24. Tiryns I, 131, pl. 14,8; pl. 18, I I. PI. 24f-g. Mycenae, Tsountas' Gr. Tiryns I, 136, fig. 8. C£ BSA 49 (1954), 265, n. 15. Argos, Gr. 32. BCH 78 (1954), 177, fig. 36; CGA: amphoriskoi, C 190-2; oinochoe, C 193; bird-vase, C 194; handmade kernos, C 195. Argos, Gr. 89. CGA: amphoriskos, C 816; handmade bowl, C 813; handmade amphoriskoi, C 814.-15. Argos, Gr. 90/3. CGA 565, n. I: amphoriskos, C 825-7; hydria, C 828; oinochoe, C 830; pyxis, C 840; handmade amphoriskos, C 841. Argos, Makris Gr. I. ADChr 18 (1963),57-8, pl. 7oa-b and seventeen other vases. Tiryns, Gr. XVI. AM 78 (1963),32-4, pl. 8, 3-4; pl. 12. Argos, Phlessas Gr. 3. ADChr 16 (1960),93, pl. 7Ia-c. Argos, Alexopoulos Gr. cx. ADChr 17 (1961-2),55, pl. 57a, two cups and an oinochoe. Cf. CGA 188-g, 221-2. Argos, Alexopoulos Gr. 5/2. ADChr 17 (1961-2), 56, pl. 58a and ten other vases. (A MG I amphora, pl, 57c, apparently belongs to the earlier of two burials.) Tiryns, Gr. 16. Tiryns I, 129, pl. 18, 7; pl. 19, 6; skyphos and cup, not illustrated (ibid. 150-1, dI5, dI9). C£ CGA 173. PI. 25f. Tiryns, Gr. 30. Tiryns t, 132, pl. 17,2-3,7,9; pl. 18,2,5,9; skyphos (ibid. 150, dI2) as pl. 18, I I. PI. 24h. Mycenae, Gr. G I1/I (vases outside). BSA 49 (1954), 260-5, pl. 44 (except 53-336); pl. 46 (except 53-335, 39-262). PI. 25 c-f. Argos, Gr. 6/1. BCH 77 (1953),260, 'tombeau 2', figs. 51-2; CGA 173: amphorae, C 28, Revma Gr. I, pyxis. a Argos C 2479. 3 Also Argos C 59, 837, skyphoi; C 56, pyxis, E.g. Makris Gr. 4; amphora, dots; krater, dogtooth. 6 Berbati, no. 10, multiple zigzag in metopes; Berbati, no. 14, row of dots; Argos C 56, dots and panelled stars. 6 Berbati, amphora no. 3; pyxis, no. 10. Cr. K. v. I, pI. 72,868, Attic MG I. 1
&
Unlike their predecessors, the neck-handled amphorae can no longer be matched with Attic counterparts. While Athenian potters continued to attenuate the bodies of their amphorae, the Argives now favoured a movement in the reverse direction, towards plumper proportions (pI. 24j);1 this movement, however, began to lose force at the end ofMG (pI. 25a). A miniature of this shape, the neck-handled amphoriskos, now enters the repertoire, and enjoys its greatest popularity during this phase. At first its decoration is limited to a few spaced bands on a light ground," like the domestic amphorae which persist throughout the Geometric period in the Athenian Agora; but in the course ofM G I I various motifs appear on the neck, among which the favourite is the arrow (pI. 24h).3 Before leaving the amphora family, we should mention two fragmentary belly-handled amphorae with circle metopes,' closely related to Cycladic work ofthis time (c£ pI. 34:m). 5 This shape, too, has a miniature, 6 which disappears after M G I I. Oinochoai show the same tendency towards plumpness as the neck-handled amphorae. The tall type ofM G I now has a rounder body;" more common is the lower version which has survived continuously since E G I I, varying its decoration according to the prevailing fashion (pI. 24f).8 This plump type gives rise to a variant with short, concave neck," of which we shall see more in L G I. PI. 25h, from Tiryns, has the tall narrow neck ofa lekythosoinochoe; its shape is best paralleled in the contemporary pottery of'Corinth.w Before passing on to the other closed shapes, let us note the popularity ofrope handles on amphorae and oinochoai alike.tCf. Mycenae, Tsountas' Gr.; Argos, Alexopoulos Gr. a; Argos C 28, 31. a Argos C 192,816,825-7; Tiryns I, pI. 17,6. Cf. Tiryns i, pI. 17,2-3,9; AM78, pl, 12,7. & Nauplia 10043, Pronoia Gr. 21, BCH 79 (1955),239, fig. 17; Nauplia 4235 from Tiryns, unpublished. 6 An amphora from Argos, Phlessas Gr. 4, is thought by Courbin to be a Cycladic import; C GA 554, pl. 151. • Argos C 190-1. 7 AM 78, pI. 19,5; Mycenae, Gr. G utI, 53-334. 6 Cf. alsoArgosC 2476; Mycenae, Tsountas'grave; Argos C830; PhlessasGr. 3. 9 ArgosC32; ADChr I8,pI. 7Ib. 10 ADChr 17, pI. 54. 11 Mycenae, Tsountas' Gr., amphora; Alexopoulos Gr. A; Makris Gr. I; Argos C 28, 31; pI. 24£; Argos C 830. 1
3
122 • ARGIVE GEOMETRIC
I
Painted aryballoi are rarer than in M G 1; an unusually large specimen, pl. 25g, is the first to break away from the traditional decoration ofcross-hatched triangles. Among other rarities, a plump hydria1 and a bird-oase: deserve notice. Pyxides, after the disappearance ofthe pointed type, are now made in three varieties. Two are globular, with ring foot and horizontal handles, differing only in the rim which may be inset (pI. 25f) or raised (pI. 25b). The lug-handled pyxis now always rests on a conical foot (pl. 25d); its body becomes increasingly plump throughout this phase." The kraters, as in earlier phases, are always related to the Type 11 ofAttica (pI. 5f), with short offset lip, and a centripetal scheme of decoration. The only complete example- has a low ring foot, and simple horizontal strap handles; but a larger krater, of which only the foot is missing," preserves stirrup handles, and part of a ribbed pedestal. Some of the latest M G I I examples, ofwhich only fragments survive, attain monumental size." Skyphoi (pl. 24g) betray no consistent development of shape, which varies from very shallow? to very deep;" but the vogue for reflex handles is new in this phase," and reminds us of the strap-handled skyphoi of Attic M G 11. 1 0 Of the cups, a larger proportion are now decorated; at the end ofMG a new shallow variety is evolved (pl. 25e), which continues throughout LG.u On Argos C 29, the sole representative of the larger variety, the mastoi have been moved from their usual position in order to make room for a longer panel. Finally, we should note the return ofthe kantharos, which we have not seen in the Argolid since E G I. Argos C 836, one of the earliest M G I I examples, has handles slightly raised above the rim, though not as high as any ofits Attic contemporaries (cf. pI. 4d) ; it has closer relations in Corinth (pI. I8g). Thereafter, however, the low-handled type (pl. 25c) was to remain the standard form.P
12 3
square metopes into the central area, have had the effect of removing any strong emphasis from the design. Equally illuminating is a comparison of the Attic krater, pI. 5f, with the frs. Argos C 289 and 423. On the Attic krater, once again, the ancillary panels all serve as an elaborate frame, directing our eyes towards the strong central meander; whereas the metopal divisions on the Argive pieces attract our attention away from the centre. A further symptom of disintegration is seen on a large fragment from Tiryns,' where the central area is divided into two horizontal panels, each containing a meander of equal size, stopped at each end by quatrefoil metopes, and separated from each other by a small strip containing triple zigzag. In Corinth, too, there was a similar avoidance of centripetal design at this time (pI. I7j); but the Argive schemes are very much more complex, and lead on to one of the most intricate of all L G styles. A second important development in Argive M G I I decoration is the gradual disappearance of the dark-ground system on the larger shapes. At first there is a further increase in the number of reserved bands (pl. 24.i), much as in Attica. Later, thin stripes begin to accumulate round the belly," and eventually cover most of the body (pl, 25a). This simple method of lightening the surface, as we have seen, is more reminiscent of Corinthian (p. 96, pl, I8a) than of Attic. These far-reaching changes in the principles of decoration are accompanied by the introduction of several new linear patterns. To begin with the smaller motifs: vertical chevrons and sigmas now arrive in the Argolid at about the same time as their first appearance in Attica and Corinth. They are usually drawn with the multiple brush ;" under the influence of that labour-saving tool, the sigma is liable to degenerate into a vertical wavy line (pI. 25b). Less common innovations are the gear-pattern (pI. 25g)4 and the double axe alternating with vertical bars ;" both of these motifs had already figured in Attic M G I, but in the Argolid the double axe is sometimes used in isolation." Dotted lozenge chains' and dotted tangential circles" come to the Argolid a little later than their first appearance in Attica." The motif of panelled stars, already known in the local MG I, is now more summarily rendered; the stars no longer touch their frame.w Towards the end ofMG, a loose single zigzag becomes a common panel motif." Dots, multiple zigzags, and cross-hatched lozenge chains are still popular; new, however, is the panel containing nothing but dots.'> Among the broader motifs, the orthodox hatched meander maintains its popularity: no large design is complete without it, and on one krater it appears in a complex form.> Its 'negative', the meander hook, enters the repertoire during this phase (pI. 25a).14 Also new to the Argolid is the hatched battlement, which now enjoys a considerable vogue :15 it, too, has a 'negative' in the hatched gear-pattern found once on a M G I I kantharos.v To complete the range of large motifs, we should note the arrival of the hatched zigzag near the end ofMG (pI. 25a). We have already observed the surreptitious introduction of quatre-
DECORATION
From the beginning of this phase, there are signs of ever-increasing elaboration, at least in the decoration ofthe larger vases. The first step is illustrated by the amphora and oinochoe, pl. 24.i,f. Here a second window-panel has been placed on the shoulder, in addition to that on the neck;13 each panel now contains a subsidiary row ofdots, as on the skyphos, pl. 24g, from the same grave as the oinochoe.v A little later, the ornament is liable to break out of the panel, and to spread right round the vase.v By the end ofM G I I, there is a consistent tendency to vary the richness ofthe decoration according to the size of the vase. The fine pyxis, pl. 25 b, when compared to its slightly earlier Attic counterpart in Paris (pI. 4 e), 16 illustrates a typically Argive method ofcovering a large surface, which we shall see carried further during the next phase. On the Paris vase, according to the prevailing Attic fashion, the whole composition is dominated by a heavy central meander; on the Argos pyxis, the attenuation of the meanders, and the intrusion of Argos C 828. 2 Argos C 194. 3 Series: Argos C 840; Makris Gr. I; Mycenae, pI. 25d. 4 Phlessas Gr. 3. Nauplia 10465, from Mycenae. 6 Argos C 289, 423, 878; Tiryns, G.!. Neg. 1276. 7 Tiryns, Gr. XVI, 3. 6 Mycenae, Gr. G I1/l. • Argos C 2477; Tiryns, Gr. XVI, 5. 10 P. 23; K. v, I, pl. 90, 839-40, Gr. 82; cf. CGA 135. 11 CGA 223-4, 'tasses basses', 12 a. Argos C 835; Phlessas Gr. 3; Alexopoulos Gr. S/2; Argos C 33. 10 a. Argos C 828,830; pI. 2Sg; ADChr 18, pl. 7oa; ADChr 16, pl, 7IC. 14 Cf. also Tiryns, Gr. XVI, 4-5. 15 Mycenae, Tsountas' Gr., oinochoe; amphora, pI. 25a; cup, pI. 2se. 16 Or with another Attic globular pyxis in a Tiryns gr.: Tiryns I, pl. 19,5; cf. CGA 553, pl. 149.
MG II
1
G.!. Neg. 1276. 2 Alexopoulos Gr. a, amphora; Argos C 830, oinoehoe. Mycenae, Gr. G I1/I, skyphos, and cup, pI. 25e; cf. CGA 87--9. 4 a. Argos C 287, 878. 5 Makris Gr. I, amphora. s Argos C 289, 836. 7 Argos C 31. 8 Argos C 33. • Cf. K. v. I, pI. 85. 10 Argas C 423, 251I; Alexopoulos Gr. a, amphora; Tiryns I, pI. 18, 12. Exception: Argos C 878. 11 Tiryns I. pl, 18,2,5,9; ADChr 18, pI. 7Ib. 12 Argos C 2476. 13 Argos C 423. 14 Cf. Argos C 29, 31. 15 Argos C 289, 423, 835; Phlessas Gr. 3, oinoehoe; Alexopoulos Gr. S/2, kantharos; Makris Gr. I, amphora. 16 R. Lullies, Griechische Plastik, Vasen undKleinkunst, Priuatbesitz, Kassel (1964), no. 40. 1
5
3
I
I
j I
~H!4
• ARGIVE GEOMETRIC
foil metopes, and their catalytic effect on the complex designs; according to Argive custom, their leaves are always hatched, and sometimes the hatching passes straight across a diagonal midrib (pI. 25 b).l The star is the usual filling ornament. Octofoils occur only on the krater Argos C 423. The Argive figured style begins quietly with the row ofgrazing marshbirds in silhouette, on the lekythos-oinochoe from Tiryns (pI. 25h); if this vase is as early as it 100ks,2 here we have the earliest known bird frieze in Greek art. It is followed by three M G I I figured vases from Argos: two pyxides and a kantharos. On the small lug-handled pyxis, C 840, we see similar birds, still in silhouette, but this time standing erect, and more fastidiously drawn. A little later, on the pyxis from Makris Gr. I, we have our first glimpse ofthe Argive animal kingdom: two stiff grazing quadrupeds (horses?), with a rudimentary man in a separate panel. Finally, the kantharos C 33 shows five horses on one side, and five stags on the reverse. The horses are surprisingly like the stringy creatures on the Attic M G I I krater, pI. 5d; already, however, four Argive mannerisms attract our attention: (i) the high carriage of the head, the upper outline being concave; (ii) the protruding shoulder; (iii) the backward bend ofthe forelegs; and (iv) the bushy tail. The solitary fish behind the birds on C 840 introduces to us another common feature ofthe Argive figured style; it also appears in a more abstracted form among the stags of C 33, and in the lateral panels of another kantharos." On all four ofthe figured vases, the background is filled by a mass ofswirling dots, which produce the desired half-tone effect; this is the only filling ornament applied to the figured work ofMG 11. Massed dots may also be added to linear metopes containing quatrefoil- or concentric circles. 5 RELATIVE CHRONOLOGY
So far, the upper limit ofeach Argive phase has been defined in terms of the contemporary style of Attica; this is still possible at the beginning of M G I I, when the two schools were still producing closely comparable work. 6 By the end ofthis phase, however, the Argive style has diverged so far from Attic that a problem ofrelative chronology arises. Among the latest vases of Argive M G I I, there are three features which suggest a slight overlap with Attic LG I. The first is the growing popularity of vertical wavy lines, drawn with the multiple brush;" in Attica, the first appearance of this motif is on a monumental krater from the Dipylon Workshop, at the end ofLG Ta." Secondly, the hatched zigzag (pI. 25a), another motif which in Attica makes its debut on the LG la kraters of the Dipylon Workshop (p. 30, nos. 8-g). Finally, we should note how square metopes, of the Attic kind, intrude into the larger compositions (pI. 25 b), before the dark-ground manner ofArgive M G has run its course: this is a phenomenon which Argive shares with Corinthian (cf. pp. 96-7), giving us the impression that both Peloponnesian schools had some acquainCf. Argos C 28g, 878. 2 Beginning of M G I I ? a. the supporting linear ornament with pI. 24£. AIexopoulos Gr. 5/2. 4 Argos C 731. • AB I I, pl. 58, 2. 8 In both regions, M G I I begins with the first use ofthe multiple brush for the grouped bars inside the lips of skyphoi: Attic, K. V. I, pl, go, 8g3 (Kerameikos, Gr. 12); Argive, C 838, 2477 (Grs. gO/2, IgI). A further innovation common to both schools is the first appearance of the high-handled kantharos, although this form never became established in the Argive repertoire. 'CGA gO--I. 8 P. 31, no. Ig; ADChr 17, pI. 22.
MG II
125
tance with Attic L G I before the end of the local M G I I. Furthermore, the commonest metopal motifin Argive M G I I isthe hatched quatrefoil with four stars as filling ornament - a combination which in Attica is especially characteristic ofLG la (c£ p. 50). There are strong grounds, then, for assuming that Argive M G I I lasted through the period of Attic LGIa. ARGIVE LATE GEOMETRIC: FIRST PHASE (LG I) SIGNIFICANT GROUPS
Nauplia, Pronoia Gr. 21/2. PAE 1954, 234-5; BCH 79 (1955), 239, fig. 18, amphoriskos. Also two oinochoai and a kantharos, unpublished. C£ CG A 173· Asine, Barbouna Gr. 2. Bulletin de la Societe Royale des Lettres de Lund 1922-3, 93, pl. 46; OpAth 6 (1965), 134ft, pl. 4. Tiryns, Gr. 41. Tiryns I, 134; oinochoe, CGA, pl. 20; kantharos, shape and decoration like Argos C 2466, CGA 217, pl. 61. (Nauplia 2002.) Argos, Gr. 80. CGA: oinochoe, C 463; mug, C 652. Tiryns, Gr. I I 1/2. A M 78 (1963),48-50, nos. 3-8, Beil, 22, I; 23, 2-5; 24, 3· Argos, Gr. 190/1. BCH83 (1959), 759, fig. 9; CGA 565, n. I: banded amphora, C 2459; skyphos, C 2464; kantharos, C 2466; kotyle, C 2470; mug, C 246I ; handmade amphoriskos, C 2460; pithos, C 3966. Argos, Gr. 152. CGA 174: skyphos, C 1576; cups, C 1574-5, 1577-8, 1581; handmade amphora, C 1651; handmade jug, C 1579. Argos, Gr. 14/3. CGA 38, 58, 565, n. I: kantharoi, C 57, 94; cups, C 58, 60, 93, 95-6; Corinthian L G kotyle, C 92; handmade lekythos-oinochoe, C 55· Mycenae, Gr. G 11/2 (vases inside). BSA 49 (1954), 260-5, pls, 44 (53-33 6), 45· Cf. CGA 165, 173-4. PI. 27 a -e. Dendra, possible grave group. OpAth 4 (1963), 89ft, nos. l-g, pls, 4-6 less fig. 18. Argos, Raptis Gr. BCH85 (1961),675; 676, figs. 5-6; ADChr 16 (1960),93, pl. 7ob ,d . One amphora and two kraters, illustrated; also two more kraters, two oinochoai, one skyphos, one kantharos, one cup; one handmade amphora, one handmade oinochoe. Transitional LG 1-11; but there are two burials (CGA 13, n. 5). Lerna, gr. Hesperia 25 (1956), 171-2, pl. 48. Transitional LG I-I I.
NOTE My LG I phase is almost exactly commensurate with Courbin's 'GR I' (CGA 177), except that I have placed Mycenae Gr. G I 1/1 - nine vases in a consistently dark-ground style - towards the end of my M G II; on pl, 25c-e the 'zigzags verticaux trembles' (CGA 173-4) need not be any later than those on pf, 25b, which Courbin places in his 'GM 2'. It must be admitted, however, that the dark-ground manner persists on some shapes until the end of L G I; cr. p. 128.
1
3
SHAPES
We begin with a solitary neck-handled amphora, from Tiryns Gr. I I 1/2; its tall, slim shape, and the straight profile of the lower body, are very reminiscent of the type current in Attic
126 • ARGIVE GEOMETRIC
LG Ib. 1 New in this phase is a small plump variety, with broad neck, and handles attached to rim and shoulder; the decoration is limited to spaced bands." The neck-handled amphoriskos is still in circulation; related to it is a lekythos, unique in Argive Geometric. 3 The oinochoai of this generation fall into three main categories. Most popular is the old plump type, whose neck is usually short and concave.' The other two kinds are new: a characteristically Argive type" with hemispherical body, first seen in pl, 27c; and a tall variety with slim ovoid body, seldom less than 0·3Sm. high (pI. 27b).6 A conicallckythosoinochoe.' based on a Corinthian model," may belong to this phase, or the next. Other rarities among the pouring vases include a smalljug9 and a high-handled mug;1O the latter recalls the Attic type current in MG lIP Three pyxidcs, each of a different shape, may be attributed to this phase. The giant from Argos, C 209 (pI. 26), is a vast enlargement of the high-lipped globular pyxis ofMG 11 (pI. 25 b), with the addition of three strap feet. The other two are both small: a squat globular variety with inset rim ;" and a new flat type with horizontal handles.P which became one of the most important shapes in L G I I. The krater is now the leading shape in the Argive repertoire, attracting the painter's most ambitious efforts. All examples have a hemispherical body, crowned by an offset vertical lip; but there is much variety in the handles. The stirrup is found only on Argos C 240, a fragment ofa very large krater; when the size is more modest, stirrupless horizontal handles are the rule. These may be of the double-arc type;14 rope handles, however, are more popular (pI. 27 a) .15 New in this phase is the krater with high handles, an enlargement ofthe Attic kantharos (pI. 27d) ;16 these handles may be divided by grooves into two or more reeds. The small krater from Asine Gr. 2 has a high unribbed pedestal; otherwise, ring feet are universal. Skyphoi tend to have shallow bodies (pI. 27 C);17 near the end ofthis phase we see the emergence of a new variety with tall flaring lip.ls Cups are plentiful, ifsummarily decorated; the new shallow type'" takes its place beside the deeper variety, whose profile now tends to straighten out towards the base.w With the kantharoi, high handles are exceptional. 21 The orthodox low-handled type2 2 is also represented by miniatures, no bigger than the CUpS;23 these probably began in M G I I, to judge from the star-panels ofthe earliest examples.v Finally, the hemispherical kotyle is now added to the Argive repertoire.v imitating the earliest class of Corinthian LG (c£ pI. I9j).
1 Cf. pI. loa; CGA 120. 2 Argos C 2459. 3 Tiryns, Gr.III/2, nos. 4-5. 4 Dendra gr., nos. 5-7; Argos C 463, and two examples from the Raptis Gr.; Nauplia 10029, from Pronoia Gr. 2;/2; Lema gr., g; Tiryns, Gr. 41, with longer neck. 6 Cf.CGA 200-1. 8 Also Asine, Gr. 2; Nauplia roogo.from PronoiaGr. 21/2. 7 AM78,Beil. 19,2. 8 Cf. pI. 19d. 9 Argos C 2461. 10 Argos C 652. 11 K. v, I, pI. 111,2159; cf. CGA 121, n. 8. 12 Tiryns, Gr. 111/2. 13 CGA, pI. 81, from Monastiraki. 14 Dendra gr., no. 8; Asine, Gr. 2. 16 Also Raptis Gr., nos. 2-3; AM 78, pI. 21, 3. 18 Also Raptis Gr., krater no. I, BCH85, 676, fig. 5; Dendra gr., no. 9. 17 Cf. Argos C 1576. 18 Argos C 2464. 19 Argos C 95,1587,158 1. 20 Argos, CGA, pI. 71, seven examples; Dendra gr., nos. 2-4. 21 Tiryns, Gr.III/2. 22 Argos C 64, 2466,2521--2; Nauplia 2002 (Tiryns, Gr. 41) and 10032 (Pronoia Gr. 21/2); Lema gr., c. 23 CGA, pI. 66; C 57, 94. 24 C 487,251 I. 26 C 872,2470; Asine 320, fig. 219, 7.
LG I
12
7
DECORATION
For this classic phase of Argive Geometric, the giant pyxis of Argos (pI. 26) is a definitive vase. It offers us a compendium of the local L G I motifs; and it illustrates to the full a peculiarly Argive method of marshalling a large design, of which we have already had a preview in M G I I. Once again, a comparison with an Attic counterpart will be instructive; let us therefore set this pyxis beside the great amphora of the Attic Dipylon Master (pI. 6). Both vases represent the zenith of the local style at its grandest and best. In both cases, figured drawing is used with great restraint, occupying only a modest proportion ofthe surface; as for the linear decoration, even the humblest details are still executed with the greatest possible care. On both vases the general design remains true to one ofthe cardinal principles of Geometric vase-painting, whereby the largest surfaces are covered by multiplying the number of the decorative units, and never by increasing their size. But here the resemblance ends. One is immediately struck by the comparative simplicity of the Dipylon amphora; our attention is at once claimed by the funerary scene, to which the vast framework of linearornament inevitably leads the eye. On the Argos pyxis, from whatever angle we view it, there is no such focus; the figured units are deliberately kept away from the central position, and are almost dwarfed by the striking sun-like patterns in the largest metopes, The only symmetrical part of the composition lies in the handle zone; even there, the disruptive effect of the metopes, already seen at work in MG II (p. 123), causes the eye to travel all over the various panels without ever coming to rest. This lack of emphasis is still more remarkable in the central part of the vase; here symmetry has been thrown to the winds, and the large sun-like metopes have been placed without any relation to the main axis of the design. Even on the neck, the painter must needs interpose his metopes and panels; the only uninterrupted zones lie at the bottom of the decoration. These, reinforced by the dark glaze near the foot, supply a stable foundation for the whole vast composition. When seen as a whole, the intricacy of the design betrays no lack of intellectual control in the mind ofthe painter who conceived it; this vase has more in common with a finely designed carpet than with the accidental felicity ofa patchwork quilt. The designs of the larger kraters, in spite oftheir fragmentary state,' show the same kind of arrangement as we find in the handle zone ofthe giant pyxis: a broad area in the centre, divided into horizontal strips; at either side, ancillary vertical columns, sometimes subdivided into square metopes and smaller panels; and under the level of the handles, one or more continuous zones to bind the whole composition together. Even pI. 27d, a krater of more modest size, is treated in this way, with no less than twelve subdivisions in the design. The other medium-sized kraters have simpler designs, but the tripartite division is always preserved; on this smaller scale there is more emphasis on the central area, which may be occupied by a figured panels or by a large meander (pI. 27a).3 The same tripartite scheme, but without any subdivision ofthe panels, is sometimes found on other shapes of moderate size: for example, on the large skyphos, pl. 27 C;4 a long central TirynsI, pI. 110, 3; Argos C 240, 244. 2 Raptis Gr., kraters 2, 3. Also Raptis Gr., krater no. I, BCH 85,676, fig. 5; Dendra gr., no. 8; Tiryns, Gr. xxv, AM 78, Beil. 21, 3; Tiryns, G.I. Neg. 855; Asine, Gr. 2. 4 Also kantharoi, Nauplia 10°32 (Pronoia Gr. 21/2) and Dendra gr., no. I; cf. necks ofoinochoai, pl, 27e and Argos C 283.
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128 • ARGIVE GEOMETRIC
LG I
panel is stopped at either end by a square metope - a scheme already known in the larger designs ofMG 11 (pl. 25b), but hardly applied on a smaller scale until the outset ofLG. Here, too, a comparison with Attic is illuminating. Square metopes were used in a similar manner by the Dipylon Workshop, flanking a more weighty central motif (p. 37); yet the general practice in Attic LG I was to divide the field into three or more square metopes, sometimes separated by 'triglyph' ancillaries (p. 50). The Argive system has more in common with Corinthian LG, where the central panel was similarly prolonged at the expense ofthe flanking metopes (pI. Igh); yet in the Argolid these metopes never assumed a tall and narrow form, as in Corinth, but always retained the square Attic shape. Thus the Argive scheme is a compromise between Attic and Corinthian practice. On the bodies of closed vases, and on the smallest of the open shapes, the metope system was hardly used at all.' Only once, on the body of the Mycenae oinochoe, pI. 27e, do we find any parallel to the Attic custom of encircling a large zone with square metopes, separated by 'triglyphs' ; otherwise the motifs run continuously round the bodies of closed vases (pI. 27 b) on the rare occasions when they bear any decoration at all. Similarly the smaller open vases have nothing more than a narrow undivided panel, stopped only by a few vertical lines, 2 just as in M G 11.3 A further sign of conservatism on these plainer vases may be seen in the frequent retention ofa dark ground, interrupted only by triple reserved bands in the M G manner.' In this respect, the amphora from Tiryns Gr. I I 1/2 has several Attic counterparts (e.g. pI. loa); yet the persistence of the older tradition is more widespread in the Argolid than in Attica, where the proportion ofripely decorated work is much higher. So far we have been concerned only with the composition; it is now time to deal in turn with the linear motifs, and the figured drawing.
the less ambitious vases chevrons, sigmas, or vertical wavy lines are often found, sometimes in a loose form (pI. 27 b), and always executed with the multiple brush. Vertical strips are sometimes filled with small circles, with or without tangents; but more frequently with columns of floating chevrons (pIs. 26, 27b). Among the heavier motifs, the most striking innovation is the step-meander, another diagnostic hallmark ofArgive L G (pI. 26). Like its Attic counterpart, the complex Dipylon meander, it enters the repertoire at the moment when the local style reaches its fullest development, on a vase of monumental size. The giant pyxis also bears a selection of older hatched motifs, all common in LG I: orthodox meander, meander hooks, and multiple zigzags - the last are now used vertically as well as horizontally. Here the meander motifs are still hatched obliquely in the traditional manner; a little later, however, the hatching is perpendicular to the outlines (pI. 27 c-e), in anticipation of the usual practice in L G I I. Similarly, a tendency to lighten the weight ofthe meander patterns' prepares us for the thin, wiry meanders of the next phase. As we have seen, metopes are rarer than in Attic; the range of metopal motifs is correspondingly restricted. The most frequent is the quatrefoil; the leaves often have a central midrib, with neat diagonal hatching (pI. 26). 2 The hatched swastika appears on only two vases (pls, 26, 27 e) ; these are usually ofthe hooked type, with three limbs to each arm. Two simple circular designs seem peculiar to the vases from Dendra ;" there is also the elaborate sun-like motif on the giant pyxis. In addition, metopes are often filled by birds and horses; these we consider in the next section.
LINEAR ORNAMENT
Let us first consider the narrower motifs. Two newcomers appear on the krater Argos C 240, at the very beginning of this phase: diagonal crosses between groups of vertical bars, and tangential circles drawn with a compass ;" sometimes the circles float freely, without tangents." A little later, two more motifs make their debut on the giant pyxis (pI. 26): the serpentine wavy line with stars in the field," and the row of dotted leaf-lozenges. Of these four novelties, only the last remained in general use after this phase, becoming the commonest and most characteristic small motifin the Argive repertoire; clearly, it is an adaptation of the rectilinear lozenge chain, whose mass-production with the multiple brush presented obvious problems (pI. 27a).8 In LG I the leaf-lozenge is neatly drawn, with slender proportions and pointed tips: each lozenge is usually separated from its neighbour (pI. 27 e). Like the related lozenge chains, they are sometimes drawn 'blind', without any cerrtral dot." Of the older stock, dots and zigzags (single or multiple) are common throughout LG; on At Asine, however, the Attic metope system was often applied during the next phase, pp. 132-3. 2 E.g. Argos C 1576, 2466. Cf. also the chevron kotylai of Corinth, pI. 19j. 4 E.g. Argos C 463; Tiryns, Gr. 41, oinochoe; pI. 27a-b,d, lower body; 'I'iryns, Gr. IU/2, amphora. 6 CGA 10'r8. The earliest Attic parallel for the compass-drawn tangential circles is on Agora VIII, no. 41: MG II or LG la. 6 PI. 26; Asine, Gr. 2, krater. Cf. Attic LG la, Hesperia 21 (1952), pI. 29a-b. • Cf. Asine, Gr. 2, oinochoe; Argos C 244, 4660; very rare after LG I - Argos C 14, and pI. 29a with chevrons instead ofstars. 8 See CGA 94-7. 9 CGA 96. Argos 2464; pI. 27a, C 566, and oinochoe from Pronoia Gr. 21/2. 1
12 9
FIGURED DRAWING
It is reasonable to assume that the main centres ofproduction lay in or near the fertile Argive plain. Within this small world the local painters could develop their own figured style, based on first-hand observation of the fauna around them. In that traditional pastureland of horses, that animal assumed a leading place in their repertoire; they also depicted the birds who frequent the coastal marshes, and the wide variety of fish for which the gulf of Argos is still famous. Man occasionally makes an appearance: he is chiefly concerned with the taming of horses.! On the earliest Argive figured scene, in a side-panel of the krater Argos C 240, the horse-tamer is combined with a row of dancers - a theme not seen again until an advanced stage of L G I I. Here the figures look stiff and laboured; the strictly equilateral thorax, and the vigorously rounded buttocks recall some inferior productions ofAttic LG 1.° Much more accomplished are the pairs of wrestlers on the giant pyxis, cautiously tucked away under each handle;" their long, lithe bodies have some of the Dipylon Master's finesse, and the crossing of their long necks produces a most effective composition for this rather awkward field. The horses ofthis phase show a similar increase offluency. At the beginning, the drawing
3
First in MG 11, pI. 2Sb; then Argos C 240, 244; pI. 27a. Also Dendra gr., no. 8; Tiryns I, pI. 20,3; Argos C 4314. Without midrib: Monastiraki pyxis, CGA, pI. 81; Nauplia 10032, kantharos from Pronoia Gr. 21/2. 3 OpAth 4, 101; fig. eok.m. 4 Argos, Raptis Gr., kraters 2-3. 6 See p. 38; cf. especially the Lambros oinochoe, AM 43, pI. 3; Marb WP 1961, pls, 2-3. 6 CGA, pI. 102.
1 2
G
130 .
ARGIVE GEOMETRIC
LG I
is hardly less stiff than on the kantharos Argos C 33;1 more elegant, and more relaxed, are the stallions on the giant pyxis. Here, once again, we see several features characteristic of most Argive horses throughout LG: the high carriage ofthe head, the protruding shoulder, the bushy tail, and the backward bend of the forelegs. No other local style offers a greater variety of bird life. On the giant pyxis, two distinct species are depicted. Those in the corners of the sun-like metopes resemble the Attic marshbirds, but their drawing is more detailed; the eyes are reserved and dotted, while even the tail feathers can sometimes be distinguished. Under the horses' bellies we see a variant of this type with longer neck, rather like a pelican." Of quite different build are the birds grouped in threes in the smaller panels ofthe handle zone (cf also pI. 27c-d); their upright long legs and sinuous necks suggest the flamingo. A more formidable creature, with long beak and massive body, first appears on the Mycenae oinochoe, pI. 27e, and then on two LG 11 vases:" this has been identified as the Great Bustard.! Without delving any further into the problems of natural history," let us be content to observe that birds are hatched during the prime of L G I; but silhouettes come back into fashion towards the end of this phase." Groups ofthree silhouette birds seem to be a feature ofArgive LG I, and perhaps of a particular painter ;" continuous files, however, are not found before the beginning of LG 11.8 Fish appear only on the giant pyxis, and the fragment Argos C 240. On both vases they serve as filling ornaments; but it is not until L G I I that they find what was to be their most regular place - under the horses' bellies. Among the linear filling ornaments, there is considerable variety, many motifs being borrowed for this purpose from the smaller panels and zones. Thus on the giant pyxis we see leaf-lozenges and detached concentric circles used in this way; and short runs of chevrons, or zigzags, are adapted to fill every kind ofgap. Much use is also made ofstars, small wheels, and outlined diagonal crosses, the last motif being especially characteristic of the Argolid. The cascade of dots, fashionable in M G I I, continues into early L G 1.9 The space above horses' backs is often barred offinto a small corner-panel, containing leaf-lozenges (pl, 26) or zigzags,"" In general, the filling ornament ofL G I is kept light, allowing the figures to breathe: the extreme manifestations of horror vacui are yet to come (pI. 29 e).
the continuous band of square metopes and triglyphs round the belly of the Mycenae oinochoe (pI. 27 e) recalls a practice not found in Attica before L GIb; and it is in the same phase that the hooked swastikas have their first Attic counterparts,' although the motif is certainly commoner in Attic L G I I a (p. 66). Complementary evidence comes from the connections with Corinth. An imported kotyle, relatively early in the Corinthian LG sequence, occurs in Argos Gr. 14/3; while Gr. 190/1 contains a close imitation ofthe very earliest Corinthian model. A later link with Corinthian L G may be seen in some antithetic pairs of hatched birds," clearly inspired by Corinthian herons. In the Argive contexts this composition first arrives at the end of L G 1,3 and continues into LG 11.4 It seems, then, that Argive LG I is contemporary with Attic LG Tb, and with the earlier part of Corinthian L G - a conclusion which is in harmony with our analysis of Corinthian chronology relative to Attic (pp. 108-11). ARGIVE LATE GEOMETRIC: SECOND PHASE (LG 11) SIGNIFICANT GROUPS
Asine, Barbouna Gr. I. OpAth 6 (1965), II8ff., pls. 1-3. Asine, House Deposit. Asine 330-3, fig. 224; add Nauplia 2249, OpAth 6 (1965), 131, pl. 4. Cf. CGA 28, n. 2. PI. 28b-c. Tiryns, Gr. VIII. AM 78 (1963), 51-3, Beil. 22, 5; 26; 27, I. (Two burials: the barrel oinochoe, no. 3, looks L G I.) Argos, Gr. 175. BCH 83 (1959), 762, fig. 18; CGA 174: banded amphora, C 2433; krater, C 2432; skyphoi, C 2430-I. Argos, Gr. 84 his. CGA 58, 174: amphora, C 847; Corinthian LG kotyle, C 942. Argos, Gr. 190/2. BCH 83 (1959), 757; 759, fig. 9; CGA 565, n. I: oinochoe, C 2462; skyphoi, C 2465, 2467, 2469; cup, C 2463. Argos, Gr. I. BCH 77 (1953),260; 257, fig. 48; CGA 174: amphora fr. with glazed body, C 2; oinochoe, C 3; krater Cl; skyphoi, C 18-26; bronze bowl, and six iron spits (Annales 14 (1959), 225, figs. 6-7). PI. 29c,e. Tiryns, Gr. 38. Tiryns I, 133, pls, 14,2; 15,7-8; 17, I; 18,3,8, 10. Argos, Gr. 6/2. BCH 77 (1953),260, 'tombeau 2', fig. 50; CGA 174-5: amphorae, C 12, 15; oinochoe, C I I; kraters, C 13, 14; kantharos, C 4; cups, C 5-10; stand, C 27. Tiryns, Gr. XXIII. AM 78 (1963), 35-40, Beil. 9, 1-3; 14-17; 18, 1-3. Sixteen vases lying on cover slab, not certainly from a single burial. Tiryns, Gr. 39. Tiryns I, 134, pls, 14, I; 17,4; 18, 16; cup and handmade oinochoe, not illustrated. Argos, Gr. 45 (The Panoply Grave). BCH 81 (1957), 322ff., figs. 1-67; CGA 174: amphora, C 170; krater, C 229; kantharoi, C 171-2; cups, C 173-7. PI. 28d. Tiryns, Gr. 26. Tiryns I, 131-2, pIs. 14, 5; 15, 9, 10, 13; 16, I I; 18, 6; eight more cups, not illustrated. PIs. 30d, 31 e. Tiryns, Gr. 11. AM 78 (1963),47-8, Beil. 22,4; 24, 1-2,4; 25, 1-2.
RELATIVE CHRONOLOGY
We have already seen that Argive M G 1 I persevered into the period ofAttic L G 1 a; hence the change to L G in the Argolid should be approximately contemporary with the emergence of Attic L Gib. Although the two schools have by now developed widely divergent styles, a few points of contact between them confirm this synchronism. The slim amphora from Tiryns Gr. I I 1/2 is a close relative of a type common in Attic LG Ib (cf. pI. loa); Argos C 240; Tiryns I, pI. 20, 3. The horse on the first fr. is strangely reminiscent of the Attic Hirschfeld Painter's type, pI. 8a. S. Benton,]HS 81 (1961),52, n. 91. 3 PI 28e; Argos C 14, top right corner. 4 S. Benton, loco cit. n. 92. 6 Cf. CGA, 392ff. 6 PI. 27a,c-d; Raptis Gr., kraters I and 3. 7 cr. CGA 449, paras. 3-4, pI. 126; add C 291, pI. 80. • Argos C 240; Monastiraki pyxis, CGA, pI. 81. • Raptis Gr., krater no. 4, ADCht' 16, pI. 70d. 10 Raptis Gr., all four kraters.
1
2
1 4
K. v, I, pI. 23, Gr. 26. 2 CGA 152, n. 10. 3 Raptis Gr., kantharos, no. 6. Tiryns I, 114, fig. 45, left, from the Argive Heraion; the wiry step-meander cannot be prior to LG I I.
132
• ARGIVE GEOMETRIC
Mycenae, grave excavated by Evangelidis (Ev. Gr.). AE 1912, 127ff., figs. 1-15; CGA 175, pIs. 25,59,62, 74, 76,82-3. Two burials (cf. CGA 165-6), but evidently close in time. PIs. 29£, 30c, 3 I a -d. Argos, Gr. 163. CGA: oinochoe, C 2303; cup, C 2302. Argos, Gr. 176/2. BCH 83 (1959), 763-4; CGA 175: amphoriskos, C 2443; bottle, C 2440; kantharos, C 2441; cups, C 2457-8; pyxis, C 2436; stand, C 2438; pomegranate vases, C 2442, 2444, 2447; EPC kotyle, C 2448; handmade aryballoi, C 2439, 2446; handmade pyxis, C 2437; fr. of conical oinochoe, C 2537· Tiryns, Gr. 22. Tiryns I, 131, pl. 19,4, 7. Transitional to Subgeometric.
NOTE My LG 1I has virtually the same limits as Courbin's 'GR 2' (CGA 177,562-4), with its lower boundary marked by Tiryns Gr. 22. But I doubt whether it is possible to make any chronological subdivisions, owing to the widely divergent styles of different workshops. 'G R za' lacks clear definition; to its most important group, Argos Gr. 45, I assign a rather later place in the LG 1I sequence (pp. 134-5,140-1). 'GR zb', which Courbin calls 'I'akme du geometrique argien', spans most of the development within LG 1I. 'GR 2C' contains some material which I would class as Subgeometric (cf. J. M. Cook, B SA 48, 38); if its lower limit be set between the two kraters of Tiryns Gr. 22 (as CGA 175), the Subgeometric example, Tiryns I, pI. 19,4, must take with it many of the kraters of'GR 2C' - e.g. CGA, pis. 46-7; C 169,2428. Among the figured vases, the end ofmy LG 1I is marked by the kraters C 201 and 645 (pIs. 30e, 3Ij); their date relative to Attic and Corinthian is discussed below pp. 145-6·
During this final phase of Argive Geometric, two broad developments are at work: the gradual loosening ofthe linear decoration, and the increasing prominence of figured drawing. It is not easy to generalize about the figured productions: for as in contemporary Attic, many ofthe best vases are attributable to individual painters and workshops, widely divergent in style. These I treat separately at the beginning of this section, in order to illustrate various aspects ofArgive figured work; later I offer a more general summary ofshapes and decoration; and finally, a few words on the chronology of Argive LG 11 relative to Attic and Corinthian.
I. The Atticizing work of Asinel Neck-handled amphora. Asine 331, fig. 224,2, from the House Deposit. PI. 28b. 2. Large oinochoe. Asine 327, fig. 222,6. PI. 28a. 3. Oinochoe, Nauplia 2228. OpAth 6 (1965), 121, pl. 2, from Asine Gr. I. 4. Krater. Asine 321, fig. 219, I. 5. Spouted krater, Nauplia 13971. OpAth 6 (1965), 124, pl. 3,from Asine qr. I. I.
Before dealing with the more orthodox workshops ofthe Argolid, we should first consider a local variant of the Argive style found only at Asine. The vases listed here are representative of this style; they share too few idiosyncrasies to permit their attribution to a single workshop, but their manner reflects a degree of Attic influence quite exceptional in other Argive pottery of this phase. 1
Cf. R. Hagg, OpAth 6, 132-3.
I THE ATTICIZING WORI{ OF ASINE •
LG 11
133
The slim amphora, 1/ has the straight lower profile of a class common in Attic LG Ib (p. 47), and surviving into the LG 11 Workshop of the Hooked Swastikas." In the decoration, the bird files and leaf-lozenges are of local origin; in the neck-panel, however, the ladder-column is a feature of Attic L G I I not found in the Argolid outside Asine." The ladder reappears on the large oinochoe, 2, another vase in this same hybrid style; here, too, we see an elegant pair of horses unusually close to the Attic Classical Tradition (cf. pk r r b). The smaller oinochoe, 3, is closely related to the Concentric Circle Group of Attic L G IIa4 in shape as well as in decoration; the distinctive scheme also occurs on three other Asinaean oinochoai.s but nowhere else in the Argolid. The krater, 4, introduces three more Atticisms: a metopal system where birds flank a central quatrefoil (cf. pl. rob-e}; in the field of this quatrefoil, the use of cross-hatched triangles as filling ornament (stars being the general rule in the Argolid); and the crosshatched tongues in double outline." Elsewhere,' the tongues have only a single outline - a variation not found in Attic until L G I I (p. 88). 8 5 is the only known Argive example of the spouted krater - another loan from Attica, or from some region where Attic fashions still prevailed at this late stage." It seems, then, that some Asinaean craftsmen were heterodox in accepting Attic ideas, at a time when other centres in the Argolid had long since emancipated themselves from Attic influence.
11. The Painter of the Sparring Horses I.
2. 3. 4. 5.
Krater, Athens 231. Tiryns I, 146, fig. 11; CGA, pl. 32, both sides. PI. 28e. Krater, Nauplia, from Tiryns, Gr. VIII. AM 78 (1963),51-2, Beil, 26, 3. Krater frs., Argos C 242. CGA, pl. 48. Krater fr., Paris, Institut d'Art. C G A, pl. 48. Pedestalled krater, Berlin 4286, from Melos. Tiryns I, 147, fig. 13; Neugebauer 6, pl. 4.
NOTE I and 2 were associated by Verdelis, AM 78,52. Courbin adds 3, the fr. C 3291, and possibly the fr. C 3288 (CGA 450, para 12). An oinochoe fr. from the Heraion, CGA 452, para. 25 and pI. 146, is associated by Courbin both with this painter and with the fr. Agamemnoneion A 37; it has more in common with the latter vase.
Turning now to the more orthodox workshops ofthe Argolid, let us begin with a series of kraters not far removed from L G 1. The first two are very close in shape to an L G I example, pl, 27 a; the body is slightly deeper, and the foot narrower. The lean horses are reminiscent 1 a. also Asine 327, fig. 222, 4. • P. 66; cf. especially the Boston amphora, no. 5; and contrast the more rounded contour of Argos C 12. 3 CGA 144, n. 5: cf. pl, 15£. 4 P. 75, pI. 13d; cf. especially JdI 74 (1959),89, figs. 9-10. 5 Asine 325, fig. 221, 7-9. 6 a. also Asine 321, fig. 219, 2. 7 Asine, Gr. 1,5; skyphos, Nauplia 2249, from Asine House Deposit. S For the rare combination of birds and tongues, cf. Agora P 17183, skyphos, from Well M. II: I, LG IIa: Hesperia 30 (1961), pI. 19,021. • E.g. Euboean, or 'Parian'; cf. especially the Delos krater, Ac I, pI. 37e, for decoration as well as shape. The heavy billets on the Asine krater are unknown in Attic, but present in 'Parian'; see p. 178.
III THE FENCE WORKSHOP' 135
LG Il
134 . ARGIVE GEOMETRIC ofthe stallions on the giant pyxis (pl. 26). Further signs ofconservatism are t? be seen in the shape of 5, whose tall ribbed pedestal is unique in this generation? and also m the su~stan tial area of glaze on the lower body (1-2, 5), still punctuated by triple reserved bands m the MGmanner. The painter is named after the aggressive pose of his horses on 1-3, which are among the earliest heraldic pairs in Argive Geometric. On 5 this pose has been abandoned, and the creatures are separated into lateral metopes in the manner of the Fence Workshop (p. 1.3~)· Nevertheless, 3-5 may be attributed to the same hand, on the. str~ngth o.f the motIf.In the lowest register - an extremely rare combination of concentnc CIrcles WIth small gridsquares in the field. The circles, which also appear in the lateral panels of 3-4, are always drawn with a sixfold brush; whereas the leaf-lozenges, common to all ~ve kraters, a~e generally executed in fours. (With the possible exception of 4, ~~ere the ~ud. files are eVIdently drawn in sixes.) 2,4, and 5 are linked by two f~rther idiosyncrasies m the horsepanels: the bushy tails, unusually, are hatched on both sides ;' and the small corner-panels of filling ornament have curved frames, fol~owing ~he curvature of the. h~rse' s neck. On all five vases, the space under the horse's belly IS occupied by a.fish; b~t this IS a regular feature of Argive LG I I. On 1-3 the hatching ofth~ fish beco~es mcreasmg~y elaborate. The mass-production of birds is another SIgn of the times. In .the ~Ide-panels of 1 we can still recognize the long-legged flamingoes ofLG I, although ~eu tails ar~ pro!onged to ~he point of mannerism, and their legs reduced to single strokes, like the soldIer-buds of Cormthian and Attic. Later, on 4-5, the tails have disappeared, and the body has become a blob; yet two stiff legs are still shown. It remained for lat~r hands ~o deb~se the birds e:en further, by robbing them ofone leg (p. 138), or by convertmg them into Wlg~le-leggedwI~e birds (p. 144; pI. 30 b). It seems, then, that this series comes to an end considerably earlIer than the close of Argive Geometric.
Ill. The Fence Workshop I. Tripod amphora, Nauplia 10006, from Pronoia. P AE 1953, 194, fig. 2; better, {
CGA, pl. I I. PI. 28d. 2. Flat pyxis fr., Nauplia 4266, from Tiryns. Unpublished. G.I. Neg. 1043. 3. Krater fr., Argos C 239. CGA, pI. 48. 4. Kantharos, Argos C 171, from Gr. 45. BCH81 (1957),333, fig. 14; CGA, pls, 61,
all oflean bui~d; forelegs are !hrust forward, encroaching onthe frame in front; the weight rests o~ the ~mdlegs. The tails are rendered by a single stroke. The stiff forelegs, without any articulation a~ the elbows (one exception: no. 3), recall the cruder productions ofL G 1.1 Through these .ammals we can follow a development within the workshop, which may well span a generation. . On 1 the horses have clearly marked fetlocks: these are no longer in evidence in 2, a slightly later work by the. same painter. ~ven the forearms have vanished by the time of 6, one ofthe latest Geometnc vases from Asme. But in compensation for this loss, the Asinaean horses s~o,: three new tendencies, characteristic ofthe latest Argive Geometric: the forelegs are begmmng to open out, the hoof is conceived as a separate mass, and the fetlock is now shown as a sharp angle, not as an excrescence. In t~e main zone, the ho~ses are p~ace~ in lateral square metopes. The central position, accordmg to the usual Argive practice, IS occupied by a thin and wiry step-meander of L G I I type; on 1 and 6, .four limbs of this meander are left detached in the corner. I, 3, ~nd 4 ,show the horse peer:ng over the 'fence' into the intervening triglyph panels; on 6 the fenc~ has ,been absorbe? mto the horse's domain, and a second triglyph has been inserted. The ~ence and the vertical lozenge chain recur on the Berlin krater by the Painter of the Sparrmg Horses (p. 133, no. 5), who may perhaps have been influenced by this workshop towards the end of his career. The Great Bustards on the neck of r are derived from those of the Mycenae oinochoe pk 27e (p. 13~, n. 4), which could have been an early product of this workshop." Bird files are abse~t UI~tIl 6, when they arrive in force; there both two-legged soldier-birds and onelegged wirebirds are represented. Fish are entirely absent. The chief fil~i?g. ornament is.the large outlined cross, inherited from the giant pyxis of LG I. (pl. ~6), It IS very promment on 1-2, less so on 3-4. Lighter motifs include small swastikas WIth acute-angled arms (1-2), and dotted leaf-lozenges (1-2 4-6). 5-6 differ from the rest o~ the series in having an enclosed panel above the horse's back, and a square manger below ItS belly. .Owing to the adept use of the multiple brush, the ornament on these vases displays a crIspness and flu~ncr r~rely combined in the work ofthis generation. Comparison with the effort ofa ~acoman mutator (pl, 46 0) will serve to illustrate the high technical accomplishment of this workshop.
IV. The Miniature Style
I I I. PI. 28c. 5. Krater fr., Argos C 3279. CGA, pl. 133· { 6. Flat pyxis, Nauplia 4232, from Asine. Asine 3 20-2, fig. 220, I.
(i) By the Verdelis Painter (all from Tiryns, Gr. XXIII) named in honour of the late Dr N. M. Verdelis, who excavated and published these vases
NOTE I
and
2
Kantharos. A M 78 (1963), 38, Beil. 17, Cup. Ibid. 39, Beil, 16, 2. 3· Cup. Ibid. 39, BeiI. 16, 3. 4. Cup. Ibid. 40, Beil. 16, I. I.
are associated by Courbin, CGA 450.:.1, para. 18.
2.
This workshop is named after the peculiarity of the horses, whose thin and elongated muzzles protrude over the triple vertical divisions as though peering over a fence. They are 1 1
See CGA 408, n.
I,
for other examples.
Cf. Tiryns I, pI.
20,
3.
2
Cf. CGA 45 1 •
I.
136 .
ARGIVE GEOMETRIC
LG 11
(ii) Related 5. Hemispherical oinochoe, Argos 0 2462, from Gr. 190/2. CGA, pls. 23, 137. 6. Oinochoe, Argos C 11, from Gr. 6/2. CGA, pls. 25,137. 7. Oinochoe, Athens 843. PI. 29 a- b . 8-16. Skyphoi, Argos C 18-26, from Gr. I. CGA 448, pI. 58 (0 20, 22). PI. 29c (C 20). 17· Lug-handled pyxis, from Tiryns, Gr. XXIII. AM 78 (1963),39, Beil. 17,3. 18. Lekythos-oinochoe fr., Argos 0 2537, from Gr. 176/2. CGA, pI. 138.
(i) By the Schliemann Painter I. Krater, Argos 0 I, from Gr. I. BCH 77 (1953), 257, fig. 48; CGA, pls. 28, I I I. PI. 2ge. 2. Krater fr., Agamemnoneion A 13. BSA 48 (1953), pI. 18. 3. Krater fr., Argos 0 1018. CGA, pI. 35. 4· Krater fr., from Tiryns. Schliemann, Tiryns, pI. 18; AM 43 (1918), 108, fig. 27; Jd! 79 (1964),5 1, fig. 39, showing new join. 5· Krater fr., Agamemnoneion A 9. BSA 48 (1953),38, fig. I I.
Verdelis, AM 78,40, assigned 2-4 to the same hand, to which Courbin also ascribes I: CGA 452, para. 24. To a second painter Courbin attributes 6 and 8-16 (CGA 449, para. 8); to this hand I would assign 7 and 17.
(ii) Workshop 6. Shoulder-handled amphora, Nauplia 2248, from Asine; much restored. Asine 330; 329, fig. 223, I; CGA, pI. 12. 7. Fr., perhaps from krater pedestal, Argos C 4029. CGA, pI. 51. 8. Neck-handled amphora, Argos 0928. CGA, pls. 6-7. 9. Neck-handled amphora frs., Argos 0 1016. CGA, pI. 140.
NOTE Courbin assigns 7-g, and perhaps 6, to his 'Maitre de l'amphora C 928': CGA 451, para. 21. I am not convinced by his association of 1 with the oinochoe C 3 (ibid. para. 10), which rests solely on the similarity of the bird friezes.
This list includes some of the largest and most intricate vases ever to be made in the Argolid. There are several reminiscences of the LG I grand manner, as exemplified by the giant pyxis (pl, 26): for example, the elaborate and unequal division of the design into square metopes and narrow panels (I, 4); and the vertical partition of the lip zone (4). New, however, is the tendency to draw some motifs in bold silhouette: e.g., the circle (2), quatrefoil (3), octofoil (4), and fish (2,4-9). The imagery, once again, is confined to the stock theme of horse-taming, and usually placed in a large central panel.' The figured drawing is curiously mannered: men and horses are exceptionally tall, their legs being prolonged far beyond nature. The horses' croups and the human calves and thighs are all accentuated with vigorous, swinging curves: when calves and thighs curve in opposite directions, the tamers have an unstable look (3-4). The gesture of raised arms and spread fingers is typical of painter and workshop alike (1,3-4,8-g). In this mannered style, the horses' necks curve round in a complete semicircle before reaching the heads. The tails are long and thin, nearly reaching to the ground line.s At the end ofthe long cannon bones, the hooves are rendered in some detail. The painter makes his animals stand on tiptoe; fetlocks take the form ofeither a long triangle (4-5) or two to three horizontal strokes (I), which are absurdly prolonged to the ground line on two workshop With the sole exception of 6, where the horse scenes are confined to lateral square metopes. IOn I the tail actually touches the ground; the hatching is exceptional for this workshop.
1
1
See CGA 408, nn.
12-13,
for discussion.
137
v. The Schliemann Workshop
NOTE
1-4 share a centralized scheme, where a large figured panel is flanked by several small panels oflinear ornament. In each scene, a man is placed between two horses; on this small scale, the horse is reduced to its simplest terms. The neck, forming the quadrant of a circle, rises out of an almost rectangular body. The tail and legs, shorter than ever before, are drawn in single strokes; elbows and hocks are clearly marked; but there are no fetlocks, and even the hooves are omitted. Oommon to all four vases is the mysterious appendage between the forelegs.' The filling ornament in these scenes is kept light. Little grid-squares float freely in the field, accompanied by chevrons and dots; pendent triangles are placed above the man's head. There are no corner-panels above the horses. The horizontal side-panels are invariable: a quintuple brush is used alike for the rough soldier-birds above, and for the detached leaf-lozenges below. In the figured field, however, chevrons, dots, and grid-squares are drawn with a four-armed instrument. The lower body is striped down to the base; below each handle is a cross, or a set of converging diagonals. The sketchiness ofthe animal style makes it difficult to speak ofa workshop, but a number ofsmall heraldic horse-panels show some kinship with this painter's work. The nearest relation is 5, where the man has been replaced by a bulky fish; but the rare grid-squares, and the cross under the handle, are as on I. The same miniature style may be seen on the shoulders of the two larger oinochoai, 6-7 (pI. 29 b), where linear stylization has been carried to the extreme; even the horses' bodies have been reduced to single strokes, and the filling ornament has been correspondingly lightened. At their best, these small pictures have a dry vigour, economically achieved through a few clean and rapid strokes; but when the scale is reduced yet further (e.g. 10, plo 29c), the style almost dwindles away into nothing. At a time when the Oorinthians were beginning to cultivate the miniature for their finest and most fastidious work, the Argives could never bring themselves to take small-scale painting very seriously. It is now time to look at Argive figured work on the grand scale.
V THE SCHLIEMANN WORKSHOP'
138 .
ARGIVE GEOMETRIC
vases (7-8). The space under the belly is usually occupied by large fish, sometimes hatched in outline, but more often in silhouette with reserved median line, according to the contemporary Corinthian practice (p. 106). Curved linear fins are characteristic of the painter (2,4-5)· The filling ornament is nothing less than tempestuous: men and horses have been bombarded with a rain of heavy motifs until they have no room to breathe. Meander hooks, at first confined to the linear panels, are eventually admitted into the figured field (3-4, 9); other popular ornaments are triangles, leaves, and various forms of lozenge. Bird files play only a small part in the decoration, yet offer some clue to the relative dating. They progress from the two-legged soldier-birds of I to the one-legged creatures (3-4, 9) characteristic of an advanced stage of L G 11. This is a grandiose style, whose aspirations are greater than its achievements. The general designs are finely conceived; yet the figured scenes lack any sense of effective spacing, so that the result is depressing to the eye.
VI. The Painter of Athens 877 Kantharos, Nauplia 1915, from Mycenae, Ev. Gr. AE 1912, 132, fig. 3; better, CGA, pl. 62. PI. 29f. 2. Krater, Athens 877. Tiryns I, 146, fig. 12; AD 16 (1960), 70 (further references), pl. 34. PI. 29 d. 1.
NOTE I
and 2 are associated by Evangelidis (AE 1912, 132) and Courbin, CGA 451, para. 20.
The details on these vases correspond very closely. In the figured scenes, the canons established by the Schliemann Painter are adopted in a less exaggerated form, the proportions of men and horses being rather closer to nature. On both vases there is a consistent difference in the shapes of the horses' necks: a semicircle on the left, and a mere quadrant on the right. Hocks are clearly shown, but the heavy hooves leave no room for the fetlock. Both horses bow the head to their tamer, who raises his arms in a commanding gesture reminiscent of the Schliemann Painter's scenes. The man's nose and chin are prominent; the thorax is quadrilateral, as on the Schliemann Painter's first krater (pI. 2ge). Large fish, with dotted round eyes, float under the horses' bellies. Corner-panels are framed by a dotted meander hook, used also as a field ornament; the heavier hatched form is more suitable to the larger field ofthe krater. Wheels and hatched lozenges fill the smaller gaps, packed far less tightly than the filling ornament of the Schliemann Painter. The side-panels of the kantharos correspond to those of the Verdelis Painter: a row of birds above leaf-lozenges, both drawn with a quintuple brush. These two vases represent the average level of Argive figured work in the middle of L G I I. Vases ofgreater distinction were produced both before and after: but the drawing here is still careful enough for a personal style to be recognizable.
LG II
VII THE MASTER OF ARGOS C
VII. The Master of Argos C
201
201' 139
and his antecedents
Kantharos, Nauplia 1973, from Tiryns, Gr. 26. Tiryns I, pl. IS, 13. PI. 30d. 2. Krater fr., Nauplia 1984, from Tiryns. Tiryns I, pl. 15,3. 3. Kraterfr., Argos C 210, from Gr. 23. CGA, pls. 41-2, 1I3. 4. Krater, Argos C 201. BCH 78 (1954), pl. 6, 2; Archaeology 9 (1956), 170, fig. 8; { CGA, pls, 43-5, 1I3. PI. 30e. I.
{
NOTE Courbin assigns 3 and 4 to the 'maitre': also an unpublished fr. from Tiryns, G.I. Neg. 1293: CGA 451-2, para. 22.
This interesting series takes us to the lower limit of Argive Geometric. We begin with a slight work in a rough miniature style, and end with a superb krater of monumental size, where Geometric and Early Orientalizing elements are finely balanced. The four vases may be separated into two pairs, each pair being the work of one hand: but 2 and 3 are so close that a common authorship for all four is not out of the question. The two pairs might represent the apprenticeship and maturity of the same painter who, having learned his craft in a strict LG 11 workshop, never ceased to develop his own personal style. But this hypothesis must remain in doubt, since so little remains of 2, a vital link in the chain. The kantharos, I, is a hasty little piece, not unlike the work of the Verdelis Painter and his colleagues; the figure style, however, lacks the crispness of the best miniature painting. Several features also recall the Schliemann Painter: the individual manner ofdrawing bird files;' the triangular fetlocks; the heavy filling ofmeander hooks; and above all the pose of the tamer, who raises his forearms in an emphatic gesture of command. In two respects, however, this artist breaks new ground. Here we see the first - and extremely summary attempt in the Argolid to reserve the human eye; secondly, instead of the usual heraldic arrangement, a single animal is being led off by his tamer. This simplified taming scene, which is the exception rather than the rule, persists throughout the series. The fr. 2 is closely related to I through the anatomy of the human figures: and there is a similar attempt to reserve the eye. The birds, too, are identical with those on I: in both cases a quadruple brush has been used. Some novelties, however, are prophetic ofthe monumental style of 3-4. Reins are now placed in the tamer's hands, forming an arc over his head, while a cascade of meander hooks tumbles down either side of his body. Under the horse's belly, the square manger of I is replaced by a dotted T-shaped form. It is a pity that too little of this krater survives for a sure restoration of the whole design: but it seems likely that the step-meander occupied the central position, with a horse-panel at either side (cr.
3-4)· From these two vases sprang the maturer style of 3-4, a pair so closely interrelated that they can hardly have been painted by different hands. 3 bears two main registers, of which the upper corresponds to the handle zone of 4. The figured metopes in each case are practically identical in content and composition, almost down to the smallest details of filling 1
See CGA 450, para.
10.
140 .
LG II
ARGIVE GEOMETRIC
ornament; and the same mannered flamingoes are enclosed in the corner-panels behind the horses' backs. On both vases the linear ornament is drawn with a care that is unusual for the period, and I cannot see any sure trace of the labour-saving multiple brush. If the two kraters come from the hand of the same man, it will be obvious from the figured drawing that they represent two different stages in his career. Lanky proportions are the rule for human figures, produced by a mannered elongation of the thighs. Yet the men of 3 still bear a family resemblance to the solitary tamer preserved on 2; the head, although now drawn largely in outline, is still sketchily rendered, with a dot for the eye, and rough projections for nose and chin - as on 2. Passing to the right-hand figure on 4 (pl, 30e), we see that the features are now carefully exaggerated in an Early Orientalizing manner, with a small circle for the eye, and waves ofhair falling down the back ofthe neck. Yet the men on the reverse show that our painter was not afraid to progress still further; here he has returned to full silhouette, but the faces are more compact and lifelike; white paint is used, not only to outline the body, but also to mark the eyes and eyebrows.' The horses show a similar progression. Those on 3, with their neat angular fetlocks and their substantial triangular hooves firmly planted on the ground.t show a marked advance on 1-2; yet they seem meagre and skinny in comparison with the fine barrel-chested stallions of 4. On the reverse of this masterpiece, white paint is applied to the horses even more effectively than to the men; the inner marking ofshoulder and thigh recalls the exploratory use of incision at the beginning ofMiddle Protocorinthian," In spite of these daring innovations in the figured drawing, the linear ornament remains strictly within the Geometric repertoire; even the running spirals of 4 have a precedent in the Thapsos style of Corinthian LG (cf pt 2oa-e). However, the single-line step-meander on the handle belongs to the very end of Argive Geometric. Two other features deserve special notice: the first appearance offemale dancers on 3, and the bellied shape of 3 and 4. These will be considered in the next section, where we review the work of another distinguished painter who flourished at the end of Argive Geometric.
VIII THE DANCE PAINTER'
141
For this painter, too, the krater is the characteristic form. Although no complete example of his work survives, I and 3 have much in common with the masterpiece Argos C 201 : a short lip, broad flat stirrup handles, and a taut, bellied body of relatively shallow proportions. In addition, I and 3 share a refinement not found on C 201 : the rim projects slightly from the lip. They are clearly by the same potter, as well as by the same painter. This painter's figured work seems to be confined to the female dance, a new theme not found in the Argolid before an advanced stage ofLG 11. The women are placed in square panels, in groups of three or four. Like some of their contemporaries in the Athens 894 Workshop (pl, r r d.f-g), they link hands and hold branches: they differ, however, from most Attic dancers in having skirts in silhouette, and long strings dangling to the ground from their girdles.' Their first appearance in the Argolid was on the krater C 2 I 0, where they move off to the right in a realistic dance; this painter, however, has turned them into a static emblem. Ancillary to the dancing scenes are narrow panels containing bird files. Here we see the fully debased wirebird, first with two legs (I), and subsequently with only one (3); but hardly to be expected in any form before an advanced stage ofL G 11. The linear ornament is always neatly drawn; but there is nevertheless a clear development within the series, from the angular zigzags of I to the massed scribbles of 3. The composition, too, changes. On I, the field is divided according to an orthodox L G I I formula: two figured panels flanking a wiry step-meander. 3, however, shows the painter in a more experimental mood. A single figured panel, framed by birds and scribbles, floats upon a vast expanse of glaze, which bears free ornament in added white: the realistic dotted snake round the lower body suggests Corinthian inspiration, towards the end ofEPC (cf pl, 2IC). This series, like the previous one, takes us to the end of Argive Geometric. Once again, the fastidious neatness of their decoration is exceptional in a period and district where so much rough and careless work was tolerated. However, this preoccupation with extreme neatness in linear ornament became a typical feature of Argive Subgeometric, as exemplified in the kraters of Fusco type (pp. 146-7).
VIII. The Dance Painter Krater fr., Argos C 229, from Gr. 45· BCH83 (1957), 334, fig. 17; 336-7, fig. 18; CGA, pI. 40. 2. Krater fr., Fogg Museum 1954.33· Tblle 45, no. 115, pI. 24C • 3. Krater, Corinth T 2545, from N. Cemetery, Gr. 47: foot and one handle restored. AJA 34 (1930 ) , 4 Il , fig. 5; Corinth XI r r, 35-6, 45-6, pl, 9. PI. 30 a - b. 4. Fr., from Argive Heraion. AHn, pI. 57, 16; CGA, pI. 145. I.
NOTE This is Courbin's 'Peintre du cratere de Corinthe' (CGA 449, para. 7), to which he assigns I, 3-4, and two frs. showing a white serpent as on 3: Argos C 754, AH I1, pl. 60, 18. For other attributed frs. see CGA 429, n. 4. Of these, C 4442 is virtually identical in style with the krater from Corinth, whose Argive origin cannot now be seriously challenged - pace R. S. Young, Corinth XIII, 46, n. 33. On its fabric, see now J. L. Benson, ClassPhi161 (1966),271.
GENERAL REMARKS ON SHAPE AND DECORATION, WITH SPECIAL REFERENCE TO THE PLAINER VASES SHAPES
While discussing the workshops, we have already encountered the most distinguished vaseforms of this period; but since most ofour attention has been claimed by the ornament, some general remarks on the shapes - and especially the plainer shapes - will not be out ofplace. The standard type of neck-handled amphora is tall and slim, though less extreme in this respect than the Atticizing class from Asine (pt 28b). Sometimes the decoration is wholeheartedly light-ground j- more frequently, the ornament is restricted to the neck, while the body is covered in glaze (pl, 31 a).3 There is also a rarer variant with plump body and 1
1
CGA, pls. 44-5, top.
I
Cf. p. 134, no. 6, a late work from the Fence Workshop.
3
Cf. Kraiker, Aigina, pI. 12.
3
In Attic, girdle strings figure only on one Subgeometric hydria; Villa Giulia 1212. See p. 60. lArgos C 12,928. Also Tiryns, Grs, 38, 39: Argos, Raptis Gr., BCN 85,676, fig. 6; C 15; frs. C 2, C 170: Troezen, ]dI 14, 86, figs. 46-7.
142 .
broad neck;' and a plain banded class with handles to the rim, continuing from L G 1.2 The only amphoriskos of L G I I is a somewhat debased specimen of the neck-handled class." The belly-handled amphora is represented by a slim fragmentary example from Tiryns.s ripely decorated. Most imposing ofall, however, is the shoulder-handled type with tripod strap feet (pl, 28d), which belongs to the same genus as the LG I giant pyxis (pl. 26), and could well have evolved from it." The oinochoai betray no radical novelty of shape; the three main classes of L G I all continue into this phase. The large ovoid type is especially popular at Asine (pI. 28a),6 though also known at Tiryns.? Smaller plump oinochoai occur in considerable quantity; their necks vary greatly in width and height, the tallest being those of the Atticizing examples from Asine." The hemispherical class is at home in Argos, and varies in size from the monumental (C 3) to the miniature (C 2462). The conicallekythos-oinochoe is borrowed from the Corinthian repertoire; both wheelmade" and handmade'? versions are occasionally found. Other rarities among the pouring vessels are the high-lipped mugs,ll and small roundmouthed olpai: the latter are confined to Asine,'> where they suggest further evidence of Attic influence. The bottle, ofelongated bulbous shape, is a strange innovation ofthis phase. 13 Among the pyxides, the flat type now holds the field, and has grown considerably since L G I. The walls usually have a gentle double curve in their profile. The lip may be inset to take a flat lidY alternatively, the rim may project outwards (pl, 30c), supporting a domed lid. 15 The handles, with two or more reeds, are placed and set horizontally. This orthodox Argive form has no counterpart in Attic or Corinthian; in Wiirzburg, however, there is a rounded variant without handles.v which is clearly related to the Attic flat form (c£ pf, rok). Ofthe older pyxis shapes, only the lug-handled form survives, with a very tall foot." The shape of the krater does not invite generalization, owing to the whims of individual potters and workshops. The body, however, is often deeper than in LG I (pl, 3Ij), the shoulder more rounded (pl. 30 a,e) , and the lip higher (pf, 29 d) ; all three developments are united in the Subgeometric kraters ofFusco type. Except for the high pedestal of the Melos krater (p. 133, no. 5), the feet are always low. As in LG I, horizontal handles are the rule, usually taking the form of ropes or straps; but the high vertical handle (pl. 2ge) also continues from L G I, while stirrups were reintroduced by two distinguished craftsmen at the end of Geometric (pl, 30a,e). Skyphoi, as in L G I, tend to be on the shallow side, with the exception of some large and glazed examples from ArgoS.18 The lip is often tall and flaring, so that the rim overhangs the Argos C 847; AHII, 117, fig. 42, CGA, pI. 8. 2 CGA, pl. 10. a Argos C 2443. C Tiryns I, pI. 20,4. More strap feet, CGA, pl. 105. The Asine amphora from the Schliemann Workshop, Nauplia 2248, also belongs to this class; the foot is missing. 6 Also Asine 325, fig. 221, 7~; 327, fig. 222, 5; two more Asinaean examples, unpublished, Nauplia 13216, 13222. 7 Gr. XXIII. 8 Asine, Gr, I, nos. 2, 5. 9 Heraion, A]A 43 (1939),441, fig. 30: frs., Argos C 2537, and Tiryns, G.1. Neg. 1191. Tiryns Gr. XXIII, no. 4, is possibly LG I; cf. p. 126. 10 Tiryns Gr. II, no. 4. 11 Tiryns I, pI. 18, 16; A M 78, BeiI. 25,3. 12 Asine 325, fig. 221, 1-2; Gr. I, nos. 8-9. 13 CGA 195-6, 'flacon'; Argos C 2440, etc. 1C Asine, fig. 220, I, from the Fence Workshop. 16 Mycenae, Ev. Gr., no. 7; CGA, pI. 81. 16 Langlotz; pI. 5, no. 63; convincingly assigned to the Argolid by Courbin, CGA 228, n. 2, pI. 78. 17 Tiryns, Gr. XXIII, no. 5; Argos C 2436. 18 CGA, pis. 54-5. 1
5
LG II
ARGIVE GEOMETRIC
143
body (pl. 31 c,e) ; at the other extreme, however, a small class painted in the miniature style (pI. 29c) (p. 136, nos. 8-16) has hardly any lip at all, and seems related to the Corinthian shallow kotyle. Cups, as before, are extremely plentiful, and vary considerably in depth; pIs. 31 f-g illustrate the extremes ofshape, as well as two ofthe most characteristic schemes of decoration. Kantharoi, as we have seen, are often big enough to bear detailed figured scenes (pls. 28c, 29f, 30 d) ; the handles are always low on these larger examples, but may sometimes rise above the rim in the case of smaller kantharoi (pl, 3 1 b),! Rectangular plaques, with a loop handle at one end, were made for votive use. Several were offered at the Heraion.s while others found their way to Aegina." One specimen from Aegina, pl, 31 h, was painted by the same hand- as a plaque from the Heraion," a skyphos from Prosymna," and a fr. from Troezen.? DECORATION
The best figured drawing has already been considered in our discussion ofworkshops. As we have seen, horse-taming is by far the most popular theme; the chorus of female dancers does not appear before an advanced stage of L G I I, but continues into Subgeometric (p. 146). Other figured subjects are extremely rare, and survive only in fragments. Some pieces from Argos, perhaps all from the same krater, show a procession offemale mourners.s Traces of chariot processions are apparent at Argos and the Heraion." Armed warriors are occasionally seen wearing Dipylon," round>' or even square-s shields. A fragment from the Heraion preserves part ofa battle in which archers are involved.'! From the same source we see a representation ofSiamese twins, a row ofmale dancers clapping hands to a lyre, and a pair of boxers competing for a tripod.> Quadrupeds, other than the horse, are only sparsely represented. A limited fashion for kneeling deer, with all four legs showing, was introduced towards the end ofLG II by the Master ofArgos C 20 I ;15 a krater from Tiryns, ofwhich only fragments survive.v combines these deer with a row ofhelmeted sphinxes and a helmeted rider. The same deer appear in white paint on an Early Orientalizing votive shield from Tiryns;" where they adorn the caparison of a chariot horse. Standing deer are found only twice;" and the goat only once.P Although the bird file is a distinctive hallmark ofArgive L G I I, the day ofthe individual bird is not quite over. Antithetic pairs, based on the Corinthian L G heron, last into the early years of this phase (p. 131, n. 4); and large single birds, with careful hatching, occur sporadically until quite a late stage, sometimes in conjunction with the bird files.w The files themselves are less standardized than in Corinthian, varying considerably from workshop to workshop; the development, however, is fairly consistent. After the relative naturalism Also Tiryns I, pI. 18, 10; Tiryns Gr. XXIII, no. 16. 2 AH 11, pI. 58, 9-11. Kraiker, Aigina, nos. 67-8; Fiirtwangler, Aegina, pI. 125, nos. 31-2, 37. C CGA 450, para. 16. 5 AHII, pI. 57, 9. 6 AE 1937, 385, fig. 9, no. 1215. 7 ADChr 18 (1963), pI. 59C. 8 CGA, pI. 144, C. 255I~. 9 CGA, pI. 142, C 4178; AHII, pI. 57, 12. 10 ]dI 14 (1899), 85, fig. 44. 11 CGA, pI. 142, C 599. IZ AHII, pI. 57, 8. 13 AHII, pI. 57,10. 14 ibid. nos. 9, 7, I I. No. 13, showing a curious combination oflion and ship scene, looks Attic rather than Argive. 1. SeeCGA, pI. 42, C 210. 16 Nauplia 4268, 4274. 17 RSA 42 (1947), pl. I8Ac. 18 AHu, pl. 57, 22; Argos C 4177, CGA, pl. 139. 19 Argos C 3805; the tips of the horns are just visible. 20 E.g. pI. 28e; Asine 321, fig. 220, I. 1
3
144 .
ARGIVE GEOMETRIC
of the LG I birds drawn in threes (pI. 27c-d), the two-legged soldier-birds come on the scene at the beginning ofL G I I; almost at once, they are mass-produced with the multiple brush.' Later, one-legged birds appear (pI. 29f), and sometimes the soldier-bird gives place to the wirebird (pI. 30 b) ; but the fashion for bird files seems to be waning already by the end of Geometric, and hardly survives into Subgeometric. The L G I parent of these schematic birds could well be the flamingo of the giant pyxis (pI. 26) (see p. 130), whose raised beak and widely curving neck can still be discerned in the cursory wire birds of the Dance Painter (pI. 30 b); these features distinguish them from the files of contemporary Corinthian vases (pI. 21). Filling ornament, as a rule, is much heavier than in L G I; in most cases, however, the accumulation is not disastrous, since the firm silhouette ofthe figures still stands out through the welter of half-tone ornament in the field. Many of the motifs enjoy special favour with individual painters and workshops: for example the outlines cross (Fence Workshop), grid-squares (Verdelis Painter), quartered or cross-hatched lozenges (Painter of Athens 877), and meander hooks (Master of Argos C 201); the tight style of the Dance Painter leaves no room for anything more substantial than dots, chevrons, and sigmas. The space under the horses' bellies is at first filled by fish: later, square or T -shaped mangers! become more common. The area above the horses' backs is usually enclosed by a double frame, containing a small group of birds or a single zigzag. The L G I practice of filling the smaller spaces with stars is not continued in L G I I; instead, the small circular gaps under the horses' necks are often occupied by a small wheel, while pendent triangles are placed over the tamer's head (pI. 29d,f). Outside the figured fields, the step-meander has become by far the most popular of the larger linear motifs. On large vases it often occupies the central place, flanked by two figured panels. Its limbs are thin and wiry, and hatched at right angles to the outline. Orthodox meanders have been abandoned. Hatched zigzags and meander hooks are ancillary motifs on large vases, but often form the main decoration on shapes which are too small to take the step-meander (pI. 31 d-e). Thin zones are regularly filled by leaf-lozenges (pI. 31 c,g), dots, single zigzag, and gearpattern, in this order offrequency: all are mass-produced with the multiple brush. The shape ofthe leaf-lozenge varies according to workshop: some (e.g. Painter ofthe Sparring Horses, and those of the Miniature Style) preserve the neat and detached type current in L G I; others allow the lozenges to merge into a continuous chain, and the shape degenerates from a careful diamond (Fence Workshop) to a rough oval (Painter of Athens 877; Master of Argos C 20 I ; Dance Painter). A distinct class of L G 11 cups (pI. 31 f) is decorated with solid leaves alternating with vertical bars. 3 ~ Vertical columns are most usually filled by piles of horizontal zigzags or chevrons (pls. 28c-e, 30c-d); later, festoons of vertical zigzags are executed with a vertical movement of the multiple brush (pI. 3Ij).
LG 11
RELATIVE CHRONOLOGY
According to our previous analysis, Argive L G I was contemporary with Attic L GIb, and the earlier part of Corinthian L G. Argive L G I I should therefore begin at the same time as Attic L G I I a, and somewhere in the middle of Corinthian L G. This synchronism is fully confirmed by the contents of the two significant groups from Asine - Gr. I and the House Deposit - which stand at the head of our Argive L G I I series. Gr. I contains an oinochoe, no. 2, which is strongly influenced by the Concentric Circle Groups of Attic L G I I a; and the spouted krater, no. 13, is another Atticizing piece which suggests an Attic prototype of the same date. On the other hand, the krater no. 10 is orthodox Argive work, similar in style to the first krater by the Painter of the Sparring Horses (pI. 28e), which on internal grounds we have placed at the beginning ofArgive L G I I; this vase is now seen to be contemporary with Attic L G I I a on the evidence of the Asine grave. The House Deposit actually contains an Attic import, a kantharos (no. 4) decorated with hatched leaves in panels: this has good parallels in Agora grave groups of L GIb and L G I I a.' This deposit also provides a cross-reference to Corinthian through the oinochoe, no. 3, which, ifnot an import, is certainly very similar to some Corinthian L G examples.s Further indications of an overlap between Argive L G I I and Corinthian L G are supplied by the survival of Corinthianizing 'herons' into Argive L G I I (p. 131, n. 4), and the association of an imported LG kotyle with a local LG II amphora in Gr. 84 his at Argos. It is fortunate that these data are available for marking the beginning of this phase in terms of Attic and Corinthian, since the orthodox work of Argive L G I I bears very little stylistic resemblance to the other two schools. True, the bird files are common to all three districts; but it follows from our synchronism that they first arrived in the Argolid later t~an in Athens (p. 32, nos. 28-g, LG Ib), but earlier than in Corinth (pI. 20h, beginmng of EPC). Near the end of Argive Geometric, the wirebirds of the Dance Painter (pI. 30 b) seem to be contemporary with their Corinthian counterparts, towards the end of EPC; another cross-reference - though not a very useful one - is offered by Argos, Gr. 176/2, where some very late local vases are accompanied by a glazed kotyle, probably EPC.3 The masterpiece from Argos, C 201, marks the end of Argive Geometric; where does it stand in relation to the Attic and Corinthian sequences? Although the linear ornament is still purely Geometric, several details in the figured drawing betray some acquaintance with the Early Orientalizing conventions practised elsewhere. On the side illustrated here (pI. 30e), the human heads are fully in outline, each feature being clearly defined to the point of exaggeration. In Attic, this detailed treatment of the human face was beyond the scope ofeven the most advanced Geometric artists. The idea was introduced there by the Analatos Painter, but not at the beginning ofhis career: the first comparable outlined face occurs on his amphora in Paris,' some years after the beginning of E P A. 5 Likewise, on the horses of LG Ib: E.I9:3, Hesperia 29 (1960), pI. 89, S; LG Ha: Young Gr. IS, Agora VIII, no. 170. E.g. BSA 43 (1948), pI. 30, 44S; Hesperia 17 (1948), pI. 7, C 4; Corinth VII. I, no. 104, fr. 3 CGA SI. 4 Arias-Hirmer-Shefton, colour pI. 2. . 5 J. M. Cook, BSA 3S, 20S, dates this vase about twenty years later than Oxford I93S.I9, which marks the lower boundary of Attic Geometric. 1
3 2 For full discussion see CGA 44 0-3. Also Asine House, nos. g-IO; Tiryns, Gr. II, nos. 6-7; Gr. XXIII, nos. IO-IS; other examples, CGA 372, n. 6. Such cups already figure in the Dendra group along with LG I vases (p. I2S); but the association is not altogether secure. 1
3
CGA 99.
145
146 .
ARGIVE GEOMETRIC
the reverse side, 1 the addition of inner details in white paint invites comparison with first tentative uses of incision in Protocorinthian. Although the harness of the head is already incised on an E P C vase," the inner curve of the shoulder is not marked until the beginning ofMPC 1.3 It follows, then, that LG 11 was a relatively long period in the Argolid. In the Attic sequence, it coincides with the whole ofLG 11, and the early part ofEPA; in Corinthian terms, it is contemporary with the later part ofLG, and the whole ofEPC. This conclusion is in harmony with our scheme of Corinthian chronology relative to Attic, whereby EPC also overlapped the end of Attic Geometric, and lasted into the earliest years of Protoattic
(p. Ill). ARGIVE SUBGEOMETRIC: THE KRATERS OF FUSCO TYPE
As we have seen, Argive L G I I was a somewhat retarded and conservative style, betraying very little sign of the ferment apparent in the contemporary, but more progressive, wares of Corinth and Attica. After its close, ambitious figured scenes were sometimes attempted in an Orientalizing manner ;' but we do not know whether any consistent Orientalizing style was ever evolved. We are much better informed, however, on the contemporary linear work, where a distinctive Subgeometric style evolved out of the latest L G I I. The painters ofLG had reserved their best efforts for large shapes, and especially for the krater; after the passing of true Geometric, the krater is virtually the only shape where we can follow any consistent development of style. Argos C 645 (pI. 3Ij) stands on the lower frontier ofLG 11; but it already has the great depth characteristic of developed Subgeometric examples. The old formula of confronting horses is still retained; but the piles ofclose zigzags have been gaining ground, and are soon destined to creep all over the field to the exclusion of figured drawing. Argive Subgeometric kraters may be divided into two phases. The first is represented by the later ofthe two examples from Tiryns Gr. 22;5 the shape is extremely deep with a narrow shoulder and a slightly concave lip, thickened outside the rim. The stirrup handles, characteristic of the whole series, consist of a rolled horizontal member rising at an angle ofabout forty-five degrees, bound to the rim by a curved strap. Feet are low, but substantial; the high conical pedestal recorded at Mycenae" may be a provincial feature, also seen in a painted representation from the Heraion.? The decoration is now almost exclusively linear, most of the field being packed tight with horizontal and vertical zigzags. The only figures are dancing women," drawn in a decaying Geometric manner enlivened by the use of outline for heads; they occupy but a small part of the main panel, hedged in on~ all sides by piles and festoons of zigzag. CG A, pI. 44, 45, top. 2 New York, lekythos-oinochoe; Hampe, Grabfund 56, fig. 42. 3 Kraiker, Aigina, pI. 12. Tiryns, votive shields; BSA 42 (1947), pI. I8a. AHII, pI. 60, nos. 18--19.Argos, Polyphemus krater, and other frs.; Courbin, BCH 79 (1955), rff 5 Tiryns I, pI. 19,4. Other kraters of this group: Mycenae, Nauplia 4037; Athens 12334 (Tiryns I, 145, fig. 9); Agamemnoneion A I (BSA 48, 35, fig. 8); Argos C 208. • BSA 48,34; A 2. 7 AHII, pI. 60, I9b. 8 Argos C 208; for other frs. by the same hand seeCGA 429, n. 4. 1
4
SUBG
147
Kraters of the second phase- differ little in shape from their predecessors: the lip, however, now tends to be strictly vertical, flat on top, and sharply offset from a broader shoulder. More significant are the changes in decoration, which at last begins to thin out. Blocks of zigzags continue, sometimes degenerating into rough scribbles ;" but wide spaces are now left for small Orientalizing ornaments such as solid buds (C 2509), solid crescents (Karantanis), S's (C 9 I 5), and large-dot rosettes connected by radiating lines (Perachora). Another fragment from the Agamemnoneion- bears a bold Middle Orientalizing lotus. Towards the ~nd ofthis phase the cumbrous zigzags drop out altogether, and the rolled part ofthe stirrup handles rises at a steeper angle (Agamemnoneion A 8). The Subgeometric krater is eventually succeeded by a shallower and more bellied vase where the stirrup handle still persists; but now the rolled member stands almost vertical, and isjoined to the rim by an almost flat strap. The surface is largely glazed ;' but sometimes the base is rayed while purple and white lines encircle the middle," as on Corinthian kotylai of the later seventh century," Much attention has been devoted to the resemblance ofthis series to a class ofkraters from the Fusco Cemetery of Syracuse, which were once thought to be Argive exports." The similarities are certainly striking, especially in the decoration, which recalls our second Argive Subgeometric phase in many details. 8 Yet the Fusco profiles often lack the crispness of Argive originals, and tend to sag in a distressing manner; furthermore, the poorly levigated reddish fabric, coated in a yellow slip, is entirely foreign to the Argolid. Hence the whole class is now thought to be oflocal origin; the affinities with the Argive series are perhaps best explained by the migration of one or more Argive craftsmen to Syracuse during the first half of the seventh century. 1 Series: Argas C 2509, C 9 15; Corinth XIII, pI. 9, 43-1 (see CGA 550, n. 4, 'parait bien argien'); Perachora 11, pI. 44, 4° 0 1; Argos, Karantanis Tomb, BCH 85,676, fig. 4; Agamemnoneion A 8, BSA 48, 35, fig. 8. 2 E.g. Karantanis krater: cf. frs, Argos C 169,2428. • A 18: BSA 48, 39, fig. 12. 4 Agamemnoneion B I, B SA 48, 43, fig. 16. 5 Nauplia 4039, from Mycenae: Wace, Chamber Tombs at Mycenae (Archaeologia 82), pI. 56, HI. 6 Cr. Corinth VII. I, no. 17 6. 7 Arias, BCH60 (1936), 146-8, pls, 10-12; CVA, Syracuse 1,3-4, pIs. 1-2, with refs. 8 See CGA 37, n. 7· The most remarkable correspondence is between Arias, pI. I2b, and the Karantanis krater, above n. I, which share the same curious crescents as well as the characteristic festoons of vertical zigzag. An exception must be made of Arias pI. I la whose decoration is of Corinthian rather than Argive character; cf. Corinth XIII, pI. 7, 32-1. ' ,
PG
]49
Our survey begins in Late Protogeometric times, when the diffusion of the Attic style imposed a degree of uniformity over the Aegean area unknown since the days of the Mycenaean koine. We may distinguish a number of Thessalo-Cycladic groups of this period, which on stylistic grounds should be earlier than the transition to Geometric in Attica. Here the homogeneity of the painted vases is partly due to their common debt to Attic inspiration; yet even at this early stage an individual Thessalo-Cycladic style was in the making, common to all districts in our area, but quite distinct from Attic.
CHAPTER FIVE
Protogeometric survivals in Thessaly, Skyros, Euboea, and the Cyclades
THESSALO-CYCLADIC PROTOGEOMETRIC (contemporary with Attic LPG) SIGNIFICANT GROUPS
Theotokou, Magnesia, Gr. B. Wace and Thompson, Prehistoric Thessaly 213, fig. 146a-e ; PGP 148-g, pI. s ra-e. Halos, Gr. 7· BSA 18 (1911-12),6, fig. 4; PGP 151, pI. 20, '7'. Halos, Grs. 4 and 8. BSA 18 (1911-12),4,8, fig. 2; PGP 150-1, pI. 20, '8'. Iolcos (Nea lonia), gr. ADChr 18 (1963), 140-1, pI. 172b. Skyros, gr.AA 1936, 228-34; PGPI65, 'Papadimitriou'sTomb'. Further to Desborough's description, the 'Schiissel' mentioned in the AA report is a large fragmentary krater, with rim missing. It is similar in shape and decoration to Marmariani 142 (BSA 3 1 , pI. 10) except that the splaying foot is lower, and unglazed. Chalcis (Arethusa), 'grave group'. PGP 199. A. Andreiomenou, GhO 257ff., nos. 13-16, pls. 48b, 49; BSA 61 (1966), pI. 21d. Tenos (Kambos), 'grave group' found in 1958. Unpublished. Five vases oflocal fabric, surface badly worn: (i) Lekythos. Shape and decoration as K. IV, pI. 18, 2097, but without the vertical scribble: the neck is glazed. (ii) Pitcher. Shape and decoration of body like the oinochoe, K. IV, pI. 16, 20 72; but with round mouth, handle attached below lip, and wider foot. Close to Marmariani 71 (BSA 31, pI. 5). (iii) Jug. Most of mouth missing. Shape as GVA Reading, pI. 15, 10, with handle to rim. Decoration entirely worn off. (iv) Skyphos. Shape similar to the example from Amathus (seebelow) , with high flaring foot and tall overhanging lip. In handle zone, two setsofninefold concentric circles, without interior filling; remainder ofexterior apparently glazed, but much worn. (v) Cup. High conical foot; shape as K. IV, pI. 24, 1104. Decoration entirely worn off. Rheneia (Parakastri), 'grave group' in Mykonos; both pieces marked 'T6:<pos 14'. Unpublished. (i) Conical foot of high-footed skyphos: glazed, but with three reserved lines at base. Probably Attic. (ii) Amphoriskos with vertical handles. Shape similar to that from Kardiani Gr. I (p. 152). Reserved handle zone, with diagonal cross-hatching; remainder of exterior glazed.
In the three districts which we have so far considered, it has been a comparatively easy task to trace the birth and growth of a Geometric style. In each case we have found significant groups ofassociated material illustrating the transition from Protogeometric~ we h~ve also been greatly aided by the close stylistic affinities between t~e three. local f~bncs, which c~n be seen long before the end of Protogeometric, and persist far mto MIddle ?eometnc. Throughout this long period, most Corinthian and Argive vases can be dated, With reasonable certainty, by reference to an Attic counterpart; and for th.ose vases ~h~ch sh~w local peculiarities, there is usually enough evidence from context to lmk them m time WIth contemporary Atticizing shapes. Elsewhere in the Aegean area, problems ofrelative chronology are more acute: there are fewer groups ofassociated material, and the Attic affinities ofthe local fabrics are less constan~. In its latest phase, Attic Protogeometric was widely imitated overseas ;' but with the transition to Geometric at home, there was a sudden decline ofAttic influence abroad. The Early Geometric ofAttica made hardly any impression beyond her own immediate neighbours in Boeotia the Corinthia and the Argolid. In remoter parts, local varieties of Protogeometric lived o~, free from a~y fresh Attic influence, at least until the advent of Attic Middle Geometric. This chapter is devoted to one particular 'sub-Protogeometric' style, which was cur~ent over a wide area: Thessaly, Skyros, Euboea, and the northern Cyclades. The convement term 'Thessalo-Cycladic' draws attention to its geographical limits; but in the light of recent study and excavation.t Euboea may well prove to be its pl.aceoforigin. I ~s char~cter istics have been defined by Desborough in his thorough analysis of the matenal available in 1950.3 The present study is based on his conclusions; more recent evidence will also "?e considered with a view to throwing more light on the style's internal development, and ItS chronology relative to the Attic series. Much depends, once again, on the contents of individual graves; but many of these, unfortunately, were not scientifically excavated, so that their witness must be treated with some reserve.' PGP, 291ff. 2 J. Boardman, BSA 52 (1957),7-8. 3 PGP 127£[. I omit from the following lists any groups of pottery said to come from more than one grave - e.g. the groups from Andros and Rheneia, PGP, pIs. 16, 18-19. 1
4
I
-r
150 . THESSALO-CYCLADIC: PROTO GEOMETRIC SURVIVALS Amathus, Cyprus. Skyphos and cup, probably of North Cycladic origin, said to have been found in a burial with Cypro-Geometric I I vases. Desborough, J H S 77 (1957), 212ff., fig. 4. ATTICIZING ELEMENTS All the above groups are presumed to be contemporary with Attic Late Protogeometric on the grounds that they contain at least one vase derived from an Attic prototype ofthis date. In each case, the Atticizing vases conform to the canons ofthe parent style. Thus among the closed vases, the trefoil-lipped oinochoai- and the lekythos" have graceful, ovoid bodies, and bear compass-drawn semicircles on the shoulder; the rest of the body is glazed, apart from the occasional set ofreserved bands. Among the drinking vessels, the skyphoi and cups (with the exception of the low glazed cups from Halos and Skyros) stand on high feet; these may be strictly conical, as in Attic," but sometimes their profile assumes a flaring form- - an easier alternative for the provincial potter. An analogous shape, on a larger scale, is the fragmentary krater from the Skyros grave; round this piece we can group a number of fine Thessalian kraters from Marmariani and Kapakli, perhaps the finest vases ever made in Thessaly." Their decoration usually consists of concentric circles, carefully drawn and closely packed; each set is generally enclosed in a square panel, bounded by vertical strips of rectilinear ornament in which every motif falls within the Attic LP G repertoire. Since the style in these kraters is so close to Attic, they must have been made before the PG of Attica had passed into oblivion. The latest features are the alternating groups of diagonals (Marmariani 140, Kapakli 43), which in Attica last from PG into EG; and the solid battlement under the handles of Marmariani 142, reminiscent of a transitional vase from the Athenian Kerameikos;" this is perhaps the latest sign of direct Attic influence in Thessaly before its decline in Early Geometric times. Returning to the vases in the grave groups, we should note a remarkable consistency in the ornament. The concentric circular motifs are confined to complete circles (generally applied to open shapes), and standing semicircles, reserved for the shoulders of closed vases. Pendent semicircles, foreign to Attic custom, are not found in any of our LPG groups; hence there is a strong case for believing that their first appearance is subsequent to the passing of Attic PG. LOCAL ELEMENTS Alongside the Atticizing vases, a few local shapes are already in evidence. One is a characteristic form of round-mouthed jug7 owing little, if anything, to Attic influence. In comparison with its rare Attic counterpart," it has a shorter and more widely flaring neck; the body is biconical, in contrast to the rounded Attic profile. Examples are known from all four of the districts which make up the Thessalo-Cycladic area." The shoulder sometimes bears standing semicircles, in the Attic manner; occasionally the zone is left blank. But the shape 1 All five Thessalian grs.; Skyros, Papadimitriou's gr. 2 Tenos, Kambos, 3 Theotokou; Tenos, cup. 4 Amathus; Tenos, skyphos. •Marmariani 140-3, BSA 31, pl, IOj Kapakli, PGRT, nos. 43-4. 6 K. IV, pl. 21, 2031, kantharos from PG Gr. 48. 7 PGP 170, no. 13. 6 PGP, pl. g: Eleusis 1081, 1085. 9 Halos, Gr. 7; Skyros, Papadimitriou's gr.; Chalcis, nos. 15-16; Tenos, Kambos.
PG is evidently of local derivation, being well represented in earlier PG contexts before the arrival 0: any strong Attic influence; these prototypes are usually decorated with one or more scnbbles on the shoulder, a scheme which has nothing to do with Attica.' Another pouring shape, although decorated in the Attic manner, is nevertheless unp~ralleled in Attica: this is a type ofpitcher, shaped like a small neck-handled amphora, but WIth o~ly ?ne h~ndle~ttached well below the lip. 2 It appears both in Thessaly3 and Tenos4 in a very s~mI1ar guise, WIththe usual semicircles on the shoulder, and the rest ofthe body glazed. A third local form, with a long future, is already found in these LPG contexts: the amphoriskos w!th vertical handles from belly to shoulder. It occurs in the groups from Theotokou, Chalcis (nos. 13,. 14), an? Rheneia. These early examples vary considerably in girth, from the plump Rheneian speCImen to the slender and graceful piece from Theotokou: the only .con~tant features are the narrow foot, and the widely flaring lip. None of these amphonsko~ bears more t~an a. superficial rese~blance to the only known Attic example;" once agam, we are dealing WIth a locally denved shape, represented in this case by earlier examples from Chalcis.s Of the drinking vessels, only one form stands entirely outside the Attic tradition: the jiat?ased cup. 7. Here, to~, Attica o.ffers a counterparts from which the local type differs radically m shape: Its profile IS deeper, ItS walls straighter, and its centre ofgravity lower' furthermore the glaze is carried right up to the rim, while the Attic version has one or ~ore reserved bands on the lip. So far, the local type has not been found outside Thessaly (Halos) and Skyros (Papadimitriou's gr.) in a clear PG context. The other drinking vessels, as we have seen, stand on high feet, and are more or less indebted to Attica. Of especial importance are the two large and decorated skyphoi from the ~enos and Amath~s groups, which differ from the Attic prototype in two respects: (i) their hps ~re cove~ed WIth a thick band of glaze; and (ii) the decoration consists of only two sets of CIrcles, WIthout any subsidiary rectilinear ornament, in contrast to their Attic LP G counterparts, which bear either three sets of circles, or two sets separated by a rectilinear panel. 9 Both ofthese features persist in the later development ofthe Thessalo-Cycladic style ' to which we now turn. THESSALO-CYCLADI C S UB-PROTOG EO ME TRI C (contemporary with Attic E G) SIGNIFICANT GROUPS Halos, Gr. 6. BSA 18 (1911-12),4, fig. 3; PGP 151-2, pI. 20, '6'. Theotokou, Gr. A. BSA 13 (1906), 32Iff., figs. 9-1 I; Wace and Thompson, Prehistoric The~saly ~09ff., figs. 145, 146g; PGP 149-50; PGR T 86-8, pI. 15, nos. I, 3-6. Four bunals, eighteen vases. 1 Kapakli, PGRT, pl. 5, 3