Chapter XVIII
.). It is, however, better illustrated by the metal products of the Villanova period, such as the bronze discs and large cinerary urns, than by the local pottery, which never reached the same level as in Greece; in the former the same combinations of elaborate ornament with rude animals and yet ruder human figures may be witnessed, and it is possible that importations from Greece may have had a share in influencing these products. They cover the period from the tenth to the eighth century B.C.
§ 2. ATTICA, BOEOTIA, AND MELOS
Following on to the Geometrical vases both in chronological and artistic sequence is a small class of Athenian vases, which, more for convenience than with regard to strict accuracy, have been styled =Proto-Attic=. The term has this much of truth in it, that the group may be said to stand at the head of, and in direct relation to, the long series of painted vases produced in the Athenian potteries for some two centuries afterwards. It is only of late years that a sufficient number of these vases has become known for them to be studied as a separate class, and even when Böhlau first drew attention to them, in 1887, only two or three were known. The list up to date is as follows (the order being roughly chronological):—
1. Athens 467
(_Couve’s Amphora Kerameikos _Ath. Mitth._ 1892, pl. Cat._) 10.
2. Berlin 56 Amphora Hymettos _Jahrbuch_, 1887, pl. 5.
3. Athens 468 Hydria Analatos _ibid._ pls. 3, 4. (Phaleron)
4. Athens 464 Lebes Thebes _ibid._ pl. 4.
5. Athens 469 Amphora Pikrodaphni _Bull. de Corr. Hell._ 1893, pls. 2, 3.
6. Athens Mus. Amphora Kynosarges _J.H.S._ xxii. pls. 2–4.
7. Athens 650 Fragment Aegina Benndorf, _Gr. u. Sic._ _Vasenb._ pl. 54.
8. Athens 657 Amphora Kerameikos _Ant. Denkm._ i. pl. 57.
9. Athens 651 Amphora Peiraeus Ἐφ. Ἀρχ. 1897, pl. 5.
10. Berlin 1682 Lebes Aegina _Arch. Zeit._ 1882, pls. 9, 10.
11. B.M. A 535 Lebes Athens Rayet and Collignon, p. 43 = Fig. 87.
We may also add to this list Athens 652–664, a vase from Aegina (_Ath. Mitth._ 1897, pl. 8), B.M. A 1531 (_Bull. de Corr. Hell._ 1898, p. 285), and another at Athens (_ibid._ p. 283).
It will be noticed that the majority are of the amphora form, and that all without exception have been found in or near Athens, which leaves little room for doubt as to their origin.
A close connection with the Dipylon vases may be observed in the first three, not only in shape and technique, but in decoration. In No. 2, which we may take as typical of the oldest form of the Attic amphora, a combination of Geometrical and Mycenaean ornament is to be observed, but the figures of the warriors are purely Hellenic, like those of the Euphorbos pinax (p. 335). The shape of No. 3 is typical of the Geometrical vases, with its long neck and slim body, and it is perhaps more accurately called a three-handled jug than a hydria, though at the same time it is clearly the prototype of the later Attic hydria. The panel on the neck of the vase (also seen in No. 6) is also a Geometrical feature, and the figures therein are quite in the Dipylon style. On the other hand, in the arrangement of the designs in continuous friezes without vertical divisions we trace the incoming influence of a foreign style—the Rhodian or Ionian. Other motives again, such as the birds and the vegetable ornaments, have nothing of the Geometrical or Ionian about them, and may perhaps be directly derived from Mycenaean vases. But the typically Geometrical lozenges, zigzags, etc., still hold their own. In No. 6 Mr. Cecil Smith notes that the ornamentation covering the field of the design is partly rectilinear and geometrical, partly floral and of Mycenaean origin. The spiral pattern which here closes the design, and is also seen on No. 1, is again an instance of Mycenaean influence, and is a motive which became exceedingly popular. In another seventh-century class, the so-called Melian vases, it is absolutely overdone, but the more restrained Attic tradition is preserved for many years as an appropriate decoration for the division of the designs under the handles, especially in the red-bodied amphorae of the developed B.F. style. This vase has some other unusual features, such as incised lines, which are also found on some early Attic fragments from the Acropolis,[972] but seem to appear equally early at Corinth, so that it is impossible to say certainly if the process is an Attic invention. At all events it is not Ionian, as its place is taken on the east of the Aegean by lines of white paint (_e.g._ in the Clazomenae sarcophagi). Curiously enough, in this same vase (No. 6) may be noted attempts at this very process, here, no doubt, as on the Ionian vases, due to Mycenaean influence (see p. 331); but it is unique in early Attic work.[973] The peculiar treatment of the eye and hair is also worthy of attention.
To sum up the characteristics of the Proto-Attic vases, it may be said that they represent the transformation of the Attico-Dorian element into the Attico-Ionian, just as we shall see in the next stage a further transformation under new influences into Attico-Corinthian (p. 324). The Ionian influence brings with it into Attica not only a revival of Mycenaean elements, but also traces of Orientalism.[974] The general appearance of the decoration links it with the Geometrical, but closer examination shows the admixture of spirals, rosettes, and lotos-flowers with the lozenges and zigzags, while the Geometrical animal-types are combined with new ones from Ionia, such as the lion, and the funeral scenes and combats are supplanted by Centaurs and winged genii of Assyrian character.[975] Further, there is a distinct tendency to get rid of the old silhouette and to draw in outline, a practice typical of Ionia and a direct heritage from Mycenaean vase-paintings. As in the Rhodian vases, the bodies are rendered in full colour, the heads in outline; while the practice of covering the field with ground-ornaments is also a peculiarly Rhodian characteristic. These latter, however, gradually disappear, as do the Geometrical conventions in the drawing of the figures.
The amphora-type develops steadily onwards from the Berlin Hymettos amphora, which, as has been pointed out, is the oldest Attic variety. In some of the forms, as in No. 5, there are traces of a metallic origin, shown by the open-work handles and other details.[976] Generally speaking, there is a tendency towards the colossal, and towards emphasising the figure-decoration, not only by increasing the size of the figures, but by confining the subject to one side. M. Pottier thinks that this is due to architectural influences, and suggests a comparison with a temple-façade. But the local traditions are still strong, and in spite of the influence of the lively and original Ionic style, the vases remain “continental” at bottom, the drawing always soberer and more powerful throughout. In many respects there is, as we shall see, a close parallelism with the so-called Melian fabrics.
No. 11, the large Burgon lebes in the British Museum (Fig. 87), is one of the latest representatives of the Proto-Attic class; its Ionic-looking lions and “Rhodian” wealth of ground-ornaments seem to suggest Asiatic influences, the presence of which has been accounted for above. Moreover, the loop-pattern on the reverse is distinctly Proto-Attic, and finds its parallels on vases found at Eretria,[977] as well as on others of the class under consideration.
[Illustration: FIG. 87. BURGON LEBES (BRITISH MUSEUM).]
Another interesting point in connection with the Proto-Attic vases is the introduction of mythological subjects, as on No. 6 (Herakles and Antaios), No. 8 (Herakles and the Centaur Nessos), No. 10 (Perseus and Athena, and a Harpy[978]). The only parallel to this early appearance of myths on vases is to be found in the Melian class (see below, p. 301), the Aristonoös krater (see below) and the Euphorbos pinax (p. 335), which, however, is of later date. It will be seen that they only occur in the later group of the Attic vases.
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PLATE XVI
[Illustration:
From _Wiener Vorl._ THE ARISTONOÖS KRATER (IN THE VATICAN). ]
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On two of these it is to be noted that inscriptions occur, identifying the figures (Nos. 8 and 10). These are the oldest painted inscriptions on Attic vases, but henceforward they increase in number, at least in the Athenian and Corinthian fabrics; they are always more characteristic of the mainland than of Asia Minor.[979] There are two early signed vases which may possibly represent the work of Athenian artists prior to the time of the François vase, the cup by Oikopheles at Oxford,[980] and the famous vase of Aristonophos,[981] Ariston of Kos (ὁ Κῷος), Aristonothos, or Aristonoös as various scholars interpret the name.[982] The former, however, is somewhat archaistic in character, with careless rather than incompetent drawing, and hardly earlier than the sixth century; and the latter has been claimed with much probability as Ionian work, on account of the treatment of certain details, as well as on the ground of the name Ariston of Kos (if this interpretation be accepted). The inscription is not conclusive either way, and it may also be here remarked that the krater has several points of resemblance with the well-known “Warrior” vase of Mycenae (Fig. 88),[983] which is probably later in date than the rest of the pottery from that site, being found outside the Acropolis. The Aristonoös vase (Plate XVI.) is usually dated in the seventh century, and is interesting for its subjects as well as for its artistic position. On one side is a sea-fight, a subject only common on Greek vases in the Geometrical period, and therefore obviously derived from that source; on the other, the blinding of Polyphemos by Odysseus, a subject popular in archaic vase-painting (see