Chapter XIV

.).[1235]

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A curious group of B.F. vases found exclusively in Italy, and belonging apparently to the middle of the sixth century, is marked by the extremes to which the mannerisms of the artists Exekias and Amasis are carried. They are without exception amphorae, and so similar in style that they must all have been produced by one workshop, if not one hand. In spite of the excellence of technique and careful drawing which they exhibit, showing a really advanced stage of B.F. vase-painting, they are lifeless and monotonous almost to grotesqueness. Karo, in publishing the series,[1236] reckons forty-four in all, and points out the various Ionian peculiarities they present, which mark them either as an offshoot of the school of Amasis or a parallel development. Originally known as “Tyrrhenian,” from the form of the amphora (cf. p. 160), they are now generally spoken of as “affected amphorae,” in allusion to their peculiar and mannered style. An example is given on Plate XXIX.

The subjects are all dull repetitions of certain “types,” often without any apparent meaning, the personages being usually warriors, horsemen, or ordinary draped figures, young and old. Women are rarely seen; subjects of a Dionysiac character are occasionally found, but mythological scenes never, except that the “type” of the “Birth of Athena” is borrowed, copied, and divested of all meaning by omitting the figure of the goddess and depriving the others of their attributes.[1237] In addition to this, Karo notes six prevailing motives: (1) two men in animated discourse, occurring about forty times; (2) a warrior arming, putting on a greave; (3) a warrior conversing with another man, with spectators; (4) two warriors in combat; (5) a young rider with second horse (Troilos?); (6) a reception of a guest, sometimes, but rather doubtfully, identified as Ikarios receiving Dionysos (see