Chapter XVIII

.), there is a marked tendency of the vases to increase in size, and several new forms are either introduced for the first time or increase in popularity. Besides the ever-popular aryballos and alabastron, there are various forms of covered jars, the cylindrical pyxis, and the so-called _lekane_, a sort of tureen; also various drinking-cups, the kotyle, the so-called _kothon_, and the kylix, the last a new type. Its prototype is perhaps to be sought in the shallow four-handled bowls of the Boeotian Geometrical ware, and it is marked by its bent-over rim and low foot.[1042]

The decoration loses all restraint, and the prevailing idea with the artist is the _horror vacui_ which impels him to fill up every vacant part of the surface, at the expense of utterly conventionalising his figures and ornaments and distorting their forms (cf. Plate XIX. figs. 1, 5, and XX. fig. 1). The vases contrast unfavourably with their Ionian contemporaries, in which, however profuse the ground-ornaments, the importance of the figures is never lost sight of, and they never fail to strike the eye. Incised lines and purple accessories are employed freely, and even the rosettes are always marked by cross-wise incisions.

Incision as a method of ornamenting vases was of course always known from the earliest times, but it was not until now employed within and round painted designs. Hitherto the only alternatives were plain silhouettes (as in Geometrical vases) or half-opaque, half-outlined figures (as in Mycenaean and some early Ionian vases). The former, however, were too conventional, the latter too elaborate, and the new method of painting _plus_ engraving reconciled the two, being at once more realistic and more rapid. It is generally supposed that this method was a Corinthian invention (compare its use in the imbricated vases, p. 311), but it is not unknown in early Attic vases, and Böhlau attributes its origin to an early Ionian tendency to imitate metal ware.[1043] But this was an anomaly, and the Ionians never took to the incising method, preferring outline designs or inner lines of white paint (see p. 331). In any case the Corinthians were the first to adopt it and popularise it.

The subjects, which now begin to present greater interest, include all kinds of animals and monsters, arranged in friezes, and by degrees human figures, and even scenes from mythology, make their appearance. Some vases have only decorative ornament, such as a flower of four long, pointed petals, which is frequently found on the aryballi.[1044] The animals include the lion, panther, boar, bull, ram, deer, goat, swan, and eagle; the monsters are Gryphons, Sphinxes, or Sirens, and a sea-deity of which the upper part is human (both male and female), the lower is in the form of a sinuous fish-tail, and the figure is often winged in addition.[1045] It is possible that in these figures we may see the local sea-deities Palaemon and Ino-Leukothea. The human figures are either single, ranged in friezes, or in groups; the favourite types are combats of two warriors and Bacchanalian dances; hunting scenes; and warriors setting out in chariots. The mythological scenes include the combat of Herakles with the Centaurs,[1046] and scenes from the Trojan War, such as the combat of Ajax and Aeneas, or the episode of Dolon.[1047]

So far, then, in the three groups of Corinthian fabrics proper, we are able to trace the working of M. Pottier’s law of the _hiérarchie des genres_,[1048] the law which was made by M. Dumont the basis of his work _Les Céramiques de Grèce propre_ (vol. i., dealing with the earlier fabrics). According to this law, the decoration of vases advances by a logical process from linear patterns to floral ornament, and then from animals to human, and finally mythological, figures. Another feature in this group is that inscriptions now appear for the first time. They became exceedingly popular at Corinth, and on most of the vases with figure-subjects they may be found, each person bearing a name, whether the scene is mythological or not.[1049] The fashion seems to have received an impetus from the chest of Kypselos, which was largely a Corinthian work, and often shows close parallel with the vases (see below). We have a signed vase with figures in this style by Chares (Louvre E 609), and others by Timonidas (Athens 620), and Milonidas (a pinax in Louvre).[1050] The abundance of these inscriptions has done much to increase our knowledge of the somewhat peculiar Corinthian alphabet (see