270:
218:
171:
29:
242:) does not mention a supporting second rank as it may be represented; it is far from self-evident this is a second rank depicted on the vase or that it supports the first. To render the phalanx tactics unambiguously the painter would have had to have given a bird's-eye view of the action, a perspective unknown in Greek vase painting. Consequently it is not clear if the hoplite formation shown here is the developed form as it was practiced from the 6th century onwards.
182:(a throwing cudgel used in coursing hares) as he signals to his fellows to stay behind a bush. It is not clear from the surviving fragments if a trap is being used, as was common in depictions of such expeditions. The next frieze immediate above suggests a collocation of four or five unrelated events. First a parade of long-haired horsemen, each of whom is leading a riderless horse. Possibly these are squires or
201:
Behind the sphinx is a lion-hunting scene in which four youths wearing cuirasses (save for one who is nude, but belted) spear a lion which has a fifth figure in its jaws. Whether there were indigenous lions in the
Peloponnese at this time is a matter for speculation. moreover the shock-haired mane of
229:
In the highest and largest frieze is the scene that has attracted the most scholarly attention – a battle involving hoplite warfare. However this characterization is not without its problems. For one thing, the hoplites shown here meeting at the moment of
269:
217:
170:
139:
The vase stands 26 cm (10.2 inches) tall, which is modest compared to other Greek vases. Some three-quarters of the vase is preserved. It was found amidst a large number of potsherds of mixed provenance, including one
304:
In line with recent scholarship of the Paris structuralist school, Jeffrey Hurwit suggests that reading upwards along the vertical axis we can discern the development of the ideal
Corinthian man from boyhood through
261:
was accompanied by aulos-players in order to keep step as they approached the opposing army, which may suggest that they were used in the same way at the time when the vase was made.
464:
Herodotus 7.125-6 notwithstanding, imported lions and products from lions would have been known; however lions disappear from
Corinthian vase painting by 550: see H. Payne,
28:
178:
The lowest frieze is a hunting scene in which three naked short-haired hunters and a pack of dogs endeavour to catch hares and one vixen; a kneeling hunter carries a
301:. invites the question whether the events on this vase (and vases generally) are random juxtapositions of images or present a narrative or overarching theme.
160:
work decorated in four friezes of mythological and genre scenes and four bands of ornamentation; amongst these tableaux is the earliest representation of the
616:
253:, so the aulos-player drawn here cannot have served in reality to keep the troops in step: what function he had, if any, is open to speculation. However,
167:– the sole pictorial evidence of its use in the mid- to late-7th century, and terminus post quem of the "hoplite reform" that altered military tactics.
606:
621:
611:
234:(or "push") do not carry short swords, but instead like their Homeric forebears have two spears; one for thrusting and one for throwing. Further,
290:
from the 650s BC. Most of the scene, especially the bodies of the three goddesses, is lost. The largely complete figure of Paris is labelled
586:
294:
in the
Homeric manner, though the writer might not be the same as the painter since the inscriptions are not typically Corinthian.
190:; the latter, it has been conjectured, may be the hoplites seen elsewhere on the vase. The riders are confronted with a two-bodied
297:
This scene, obscured under the handle, with most of the painted area lost, and “painted somehow as an afterthought” according to
601:
298:
128:
estate in 1881. The vase has been variously assigned to the middle and late Proto-Corinthian periods and given a date of
108:
336:, 1989, 56–58, call the artist the Chigi Painter. However, Dunbabin and Robertson, "Some Protocorinthian Vase Painters",
258:
455:
Hurwitt points out that shinxes are not menacing monsters in the
Corinthian mythography. Hurwitt, 2002, pp. 10.
284:
on the Chigi vase is the earliest extant depiction of the myth, evidence perhaps of knowledge of the lost epic
250:
222:
133:
239:
117:
104:
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scene. Above is another hunting scene, albeit of animals only: dogs chasing stags, goats and hares.
416:
203:
385:
281:
273:
211:
164:
145:
509:
377:
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influence, perhaps the first such in
Corinthian art and replacing the previously dominant
198:. It is not clear if the creature is participating in any of the action in this frieze.
428:
Schnapp, 1989, figs. 99–100, some arching lines in the zone above might indicate a trap.
148:
announcing the ownership of
Atianai, perhaps also the original owner of the Chigi vase.
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to full warrior-citizen, with the sphinx marking the liminal stages in his maturation.
595:
195:
125:
254:
157:
113:
370:
Hesperia: The
Journal of the American School of Classical Studies at Athens
235:
207:
141:
389:
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249:-players and cadenced marching are not attested in literature from the
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537:
The structuralist approach of Victor Bérard, François
Lissarrague etc.
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forms. Finally in this section, and just below the handle, is a
121:
83:
42:
466:
Necrocorinthia: a study of
Corinthian art in the archaic period
340:, 48, 1953, 179–180 favour the appellation "Macmillan Painter".
358:
Hurwitt, p. 3, note 12, lists the competing views on the date.
411:”not just the first but the best representations”, Murray,
221:
Detail of the Chigi Vase depicting hoplites in action (
368:
Hurwit, Jeffrey M. (2002). "Reading the Chigi Vase".
569:, Vol. 71, No. 1 (Jan. – Mar., 2002), pp. 1–22.
419:
depicting hoplite single combat (BM GR 1889.4–18.1).
79:
67:
56:
48:
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415:, 1993, p. 130. The Chigi vase is predated by the
560:Corinthian Vase Painting of the Archaic Period
144:vessel inscribed with five lines in two early
565:Jeffrey M. Hurwit, "Reading the Chigi Vase",
8:
27:
18:
257:does state that a Spartan phalanx in the
116:of the Chigi Painter. It was found in an
325:
338:Annual of the British School at Athens
134:National Etruscan Museum, Villa Giulia
7:
572:John Salmon, "Political Hoplites?",
617:Archaeological discoveries in Italy
576:, Vol. 97, (1977), pp. 84–101.
14:
607:1881 archaeological discoveries
587:Hoplite scene on the Chigi vase
574:The Journal of Hellenic Studies
526:Oxford History of Classical Art
486:Hanson, Hoplites, n.49, p. 160.
622:Collection of the Villa Giulia
612:Individual ancient Greek vases
437:Suggests Hurwitt, 2002, p. 10.
332:Amyx 1988, 31–33, and Benson,
186:for some absent cavalrymen or
1:
132:650–640 BC; it is now in the
129:
60:
446:Greenhalgh, 1973, pp. 85–86.
334:Earlier Corinthian Workshops
16:Protocorinthian painted vase
512:, see Hurwit, 2002, note.21
194:with a floral crown and an
156:The Chigi vase itself is a
120:tomb at Monte Aguzzo, near
638:
112:, or pitcher, that is the
33:Hoplites on the Chigi vase
136:, Rome (inv. No.22679).
26:
349:Ghirardini 1882, p. 292.
223:National Etruscan Museum
477:Hurwitt, 2002, pp. 12.
277:
226:
175:
272:
220:
173:
602:7th-century BC works
546:Hurwit, 2002, p. 18.
402:Hurwitt, 2002, p. 6.
126:Prince Mario Chigi’s
417:Macmillan aryballos
280:The scene with the
202:the lion betrays a
152:Mythological scenes
528:, 1993, pp. 31–32.
282:Judgement of Paris
278:
274:Judgement of Paris
265:Judgement of Paris
259:Battle of Mantinea
227:
212:Judgement of Paris
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146:Etruscan alphabets
468:, 1931, p. 67-69.
165:phalanx formation
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376:(1): 1–22.
188:hippobateis
596:Categories
495:Thuc. 5.70
321:References
292:Alexandros
255:Thucydides
238:(11.11–14
184:hippobates
158:polychrome
101:Chigi vase
68:Discovered
22:Chigi vase
510:Syracusan
506:Aiginetan
180:lagobolon
114:name vase
567:Hesperia
236:Tyrtaeus
232:othismos
142:bucchero
118:Etruscan
39:Material
562:, 1988.
553:Sources
504:Either
390:3182058
314:paideia
245:Lastly
225:, Rome)
208:Hittite
162:hoplite
57:Created
388:
308:agones
287:Cypria
192:sphinx
174:Detail
63:645 BC
49:Height
386:JSTOR
276:scene
247:aulos
124:, on
103:is a
92:Italy
88:Lazio
74:Italy
52:26 cm
311:and
240:West
122:Veio
109:olpe
99:The
84:Rome
71:1881
43:Clay
523:ed.
508:or
378:doi
598::
384:.
374:71
372:.
130:c.
90:,
86:,
61:c.
392:.
380::
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