A handbook of Greek vase painting - Tapa blanda

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 Excerpt: ...band, Graef, Akr. Fr. No. 361); at the same time the storytelling Athenian vein, which we saw foreshadowed in the Dipylon style, began to have its way, and to tell in the prominence of what one may call the narrative picture. The influence of realistic painting on Attic vases was still less conspicuous than on proto-Corinthian; the experiment in monochrome contour-drawing of men and women was soon abandoned for a more decorative scheme, in which the incised silhouette, with conventional touches of red, was used for men as it had almost consistently been for the animal frieze, and the contour kept only for women. This was an approach, as we shall see, to an effect aimed at in the developed Black-figure style. The strongly ceramic quality which distinguished the Attic fabrics from the more metallic proto-Corinthian persisted throughout their development, even in the so-called Vourva ware, which was, like its rival the common Corinthian, an export ware. But here, as in Corinth, the finer tradition is represented by a few large vases of the bowl type--kraters and lebetes--which, though they borrow the animal frieze from Corinth and the many touches of white paint from Ionia, themselves make the most important contribution of all, the reserved field for the picture. It was with this Attic ware that the future of Greek vase-painting lay. But before following it up we will glance at the yield of the seventh century on the other side of the Aegean. (2) E. Ionic Apart from the so-called Melian ware (Fig. 6), whose unique ornamentation and vivacious Melian....,....... pictorial quality have nghuy given it an importance out of proportion to the small number of specimens known, perhaps the most interesting as well as the most „.,. numerous are the so-called Rhodi...