Chapter XIV

.). It is the figures of this group which bear the inscriptions alluded to above. As an instance of the extreme richness and delicacy of the painting, attention should be called to the chariot-horses in the lower frieze, which are drawn slightly in advance of each other, and painted respectively yellow, black, red, and yellow.

The Macmillan lekythos, in spite of its diminutive size, is decorated with no less than three friezes of human figures and animals, as well as other ornaments; the main design represents a combat of warriors; the next, a race of boys on horseback; the lowest, dogs pursuing a hare, and a crouching ape. The total height of the vase is barely 2¾ inches, and yet every detail in these friezes is marked with surprising care and accuracy, the shield-devices of the warriors, for instance, being drawn with wonderful minuteness. The three Boston vases are interesting for their subjects: on one is Bellerophon slaying the Chimaera; on the next, a hero attacking a lion with a human head on its back (a monster no doubt _suggested by_ the Chimaera); the third has the favourite early subject of Herakles’ combat with the Centaurs. In all these vases the use of a red colour on the human figures should be noted, a technical device which we have already noted in the figures on the Melian amphorae (see above, p. 301).

It is abundantly clear that such work could not have been produced in the eighth, or even the seventh, century; the style is virtually that of the subsequent black-figured vases, and we are therefore forced to the conclusion that these miniature vases were made under the more or less direct influence of the later Corinthian wares proper, at a time when that style was developing into the black-figured.

With the Proto-Corinthian ware may be linked a series of vases in the form of animals, human heads, etc., which imitate Oriental porcelain vases and show an early development of the plastic art which is remarkable for its advanced style (see pp. 127, 492). The decoration of these vases is usually of a simple Geometrical character. They are found in Rhodes and on many other sites, such as Eretria, Vulci, and Nola.

2. =Vases with incised imbrications.=—The importance of this class is betokened by the appearance of the incised line, which as a matter of pure technique is of course only a revival from the primitive fabrics, but as an adjunct to figure-decoration in order to express details is an entirely new feature (see above, p. 306, and below, p. 313). It was probably derived from metal-work, in which it had long been familiar, as the Boeotian Geometrical fibulae and the early Corinthian or Chalcidian bronze reliefs testify. Although destined largely to revolutionise design, it was at first used with restraint. In the vases under consideration it is confined to the imbrications[1034] or scale-patterns with which the body is largely covered (Plate XIX. fig. 3). They were produced by means of a compass in which the graving-tool was fixed, the edge of each scale forming an arc of a circle, the centre points of which are usually visible. This scale-pattern is not a new feature in the decoration of vases; it appears in a painted form on many Mycenaean specimens,[1035] and was also adopted by the Ionian painters of Daphnae in the Egyptian Delta (see p. 352). But as a more satisfactory result was obtained by incising, the Corinthian variety soon became exceedingly popular. The effect is often enhanced by the use of red colour.[1036] In some cases this ornament is combined with painted friezes of animals (as in the Louvre vase E 421). The shapes employed are various, but a new and conspicuous variety is the large jug or _olpe_, with circular lip and large discs attached on either side to the tops of the handles. Attempts have been made to dissociate this fabric from Corinth, by attributing it to Rhodes, Ionia, and Sicily[1037]; but although it is certainly true that large numbers were found in Rhodes and in Sicily, the claims of neither prevail over those of Corinth, and the most that can be said with any certainty is that some are local imitations. It is, moreover, possible to discover their prototypes in the Proto-Corinthian wares.

3. =Vases with floral decoration=, but no incised lines (about 700–650 B.C.).—Towards the end of the eighth century may be observed an influx of Oriental motives, transforming the Corinthian style, just as at Athens it transformed the local style, producing the Phaleron ware. Its effect can also be observed in Etruria (