July 1, 1896.] 



KNOWLEDGE. 



153 



alphabet in which the mscriptions are written clearly shows 

 its Athenian origin, but there are several characteristics 

 which betray Corinthian influence. 



The British iluseum and that at Berlin possess two 

 similar vases, but of inferior size and merit, the principal 

 subject on each being the birth of Athena from the head of 

 Zeus. This was originally a Peloponnesian legend, and it 

 is interesting to note that one of the figures on the Berlin 

 vase is inscribed, " I am Hermes of Kyllene," referring to 

 a mountain in Arcadia on which that god was especially 

 worshipped. Further, the word Kyllene is spelt with an 

 initial " Q," a letter which only occurs twice in Attic 

 inscriptions, but is common in Peloponnesian alphabets. 



From this time onwards the history of Athenian vase 

 painting is one of continuous and rapid development. One 

 noteworthy result of this development is in the shapes 

 employed, which in the earlier periods show an extra- 

 ordinary variety. But the shapes in common use by 

 Athenian potters may be limited to perhaps a dozen or so, 

 and of these only five may be said to enjoy anything like 

 popiilarity. These are the amphora (by far the most 

 popular of all), the hydria (three-handled pitcher), oinochoo 

 (wine jug), lekythos loil flask), and kylix (goblet). Several 

 of these shapes pass through sixccessive phases of develop- 

 ment which are of great assistance in a chronological 

 classification. We may take the amphora and kylix as 

 best illustrating our purpose. The earlier examples of the 

 amphora are obviously Corinthian in type, and have a 

 thick body, more or less egg-shaped, running up without 

 marked division into the neck, and thick cylindrical 

 handles. The whole vase is covered with black varnish, 

 except a panel on either side in which is the design. 

 Another variety is chiefly represented by the Pauathenaic 

 amphoriB, which we shall discuss later, which have a very 

 short neck and converge below to a very small foot. The 

 later examples have a high cylindrical neck strongly set-off 

 from the body, which has a high flat shoulder. In these 

 the black varnish is only applied on the mouth, foot, and 

 handles (which are formed of three parallel ribs), the 

 whole of the vase being left red, except for the figures, and 

 highly glazed. The early kylix has a high stem, and the 

 upper part of the bowl is set at an angle to the lower, 

 forming a band for the designs ; in the next stage this 

 angle becomes more obtuse, and the band is narrowed by 

 a broad stripe of black varnish round the lip ; finally the 

 angle is replaced by a continuous outward curve, and the 

 foot becomes shorter and thicker. 



The technique of the black-figured vases is marked by 

 two notable features, the first being the red clay of which 

 the vases were manufactured, which was found in such 

 abundance in the plains of Attica : its hue is due to an 

 oxide of iron. This red clay is admirably suited for taking 

 a glaze — an essential preliminary to the process of paint- 

 ing on such a material. The second feature is the black, 

 varnish-like pigment which was used, not only for filling in 

 the contours of the figures and for the decorative patterns, 

 but also for covering the mouth, foot, and handles. 



Two accessory colours are employed, purple and white ; 

 the latter mostly for the flesh of women, for the hair of 

 old men, or for the long garment worn by the charioteer. 

 It is noticeable that at first purple is by far the more 

 popular of the two, being used in large masses, and even 

 for the flesh of men in many cases ; but in the later 

 black-figured vases its use is largely discountenanced, and 

 is at most employed for small details such as the folds or 

 patterns of a dress. The incised lines, again, play a very 

 important part in the technique of these vases. They are 

 made with a hard-pointed tool of bone or iron while the 

 clay is still moist, the outlines of all the figures being 



traced first, and the designs then filled in with black 

 varnish. The next process was the addition of incised 

 lines for the inner markings and finer details, after which 

 the vase was sent to the furnace, and finally the purples 

 and whites were added and a second baking completed 

 the process of production. 



Throughout this period a steady advance in drawing is 

 noticeable, although in one direction there is a somewhat 

 deplorable tendency to a&'ectation and mannerism, which 

 shows itself both in the drawing and in extravagant use of 

 ornament. Another feature is one which is more or less 

 common to all archaic art, but is especially noticeable in 

 these vases — viz., the tendency to give tapering extremities 

 to human figures, and this at times runs quite to extrava- 

 gance (see Fig. 2 ). 



Fia. 2. — Corintho-Attic .Tiij (OlpJ), with Hunter returning from 

 the Chase. " Minute " stvle ; one-third original. 



The treatment of drapery is interesting, and may be 

 regarded as a fair indication of date. The chiton, or long 

 garment ordinarily worn by women, is at first straight, 

 with rigid stripes of purple on black ; then patterns are 

 incised or painted in white on the black ; the waist is 

 generally very small, and bound tightly with a broad 

 girdle. By degrees the lines of the folds take an oblique 

 direction, as if to indicate motion ; while an upper gar- 

 ment, the himation, or mantle, is now introduced with 

 marked effect in the direction of oblique flowing lines or 

 angular faUiug folds. 



Another important feature of black-figured vases is 

 the treatment of decorative patterns, which in this period 

 become almost stereotyped. Thus on the amphonp certain 

 patterns are always employed to decorate certain parts of 

 the vase; again, on the kylikes. in the latest develop- 

 ment, a large eye is always painted on either side of the 

 handles, this particular object being chosen, probably, as 

 best adapted to the space. Again, it seems to have been 

 almost a rule at one time to decorate the interior of a 

 kylix with a full-face head of the Gorgon Medusa, not 

 painted in black on a red ground, but left in the red clay 



