From Wiener Vorl.
The Aristonoös Krater (in the Vatican).
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 Chapter [XIV].), and found in Cyrenaic and other early examples. At first sight this vase would certainly seem to be of the Proto-Attic class, showing the transition from Geometrical to developed Attic style; but the Mycenaean and Ionian elements must not be left out of consideration. As regards the Warrior vase, M. Pottier has given good grounds for showing that it also is to be reckoned as Proto-Attic. But we must not leave out of sight the view urged by Furtwaengler,[[984]] that the Aristonoös vase is of an Argive fabric. When the Heraion finds are published, they may afford more evidence on this point. Meanwhile, it may be remarked that the circumstances of the finding of the Warrior vase may support this view.
FIG. 88. VASE FROM MYCENAE, WITH WARRIORS.
Closely connected with these early Attic fabrics is a very interesting series of small vases which, from the place of their discovery, are usually known as Phaleron ware. They are nearly all small jugs, and number some fifty, mostly at Athens, but there is a representative series in the British Museum. More conspicuously, perhaps, than the Proto-Attic, they illustrate the growing tendency to combine Geometrical and Oriental influences. In form and technique they are Geometrical, but in the ornamentation there is a large admixture of Oriental elements. It has been said that “the whole character of these vases seems to reflect an influence of the style of Oriental vases on painters accustomed to the Dipylon style,”[[985]] and it is largely in the arrangement of the decoration that the former is apparent, as well as in the introduction of new motives and patterns.[[986]] See for examples Plate [XVII]. figs. 2, 4, 5.
From Ath. Mitth. 1890.
FIG. 89. VASE OF PROTO-ATTIC
TYPE FROM VOURVA.
The usual scheme consists of a panel with figures on the neck, a band of ornament round the shoulder, and below that parallel bands of lines or other ornaments, with zigzags or rays round the foot. A typical example is A 471 in the British Museum, with a cock on the neck, and below, dogs pursuing a hare.[[987]] On a cup of Geometrical form, with conventionalised plants and ground-ornaments of Geometrical character, are two deer fleeing from a lion, and there is also a pyxis with chariot-scenes obviously derived from Mycenaean vases. But most curious and interesting is a jug with two bearded heads and a woman with very small body, apparently playing flutes.[[988]] The general effect is quite unique, but the drawing is rude and childish to a degree; the middle head is almost Semitic in type. It would seem that here again we have a Mycenaean influence at work, and in general the appearance and style of these vases undoubtedly recall the figured vases from Cyprus.[[989]]