Αμφορέας πρωτοαττικός

Abstract

The amphora presented here with the kind permission of Mrs. Agnes Roussopoulou, to whom it belongs, is an interesting example of the transitional style between Early and Middle Protoattic. In spite of its stylistical similarities with the Shoen amphora ( Lullies, Eine Sammlung gr. Kleinkunst, nr. 30, p. 17, fig. 10 - 11 ) and the Agora hydria P 26411 ( Hesperia XXX, 1961, 375, pi. 87 = S3 ), the attribution to either Analatos or Mesogeia Painter, the leading masters of the period, is debatable. On the other hand it reflects the Ram - Jag Painter’s achievements in a very early stage. The importance of the shape, with the large surfaces of its structure, accentuated by the horizontal band decoration ( characteristic of the 8th century B.G. amphoras ), offers a completely new conception of the form, in comparison with the elongation that dominates the shape of Cook’s Late Geometric, Transitional and Classical Tradition’s style ( Category A ). Judging by its form, the Roussopoulou amphora belongs to a large group of egg - shaped vases with band decoration and cylindrical necks which are usually covered with simple patterns ( Category B.). The vases of Category B, contemporary with the elongated ones of Category A, show clearly the transition to the rounded forms of the mature Middle Protoattic style which is not explained by the Island influence. Furthermore the whole group, in its best examples, shows a retrospection that can be cha racterized as the reaction of the old principles against the development of the rising future. Though the historical evidence fails it would be interesting to see in the system of the two groups during the second quarter of the 7th century, another sign of the dialectical process in ancient Greek Creation.