Hostname: page-component-848d4c4894-r5zm4 Total loading time: 0 Render date: 2024-06-15T10:08:14.401Z Has data issue: false hasContentIssue false

Kjellberg's new class of Clazomenian Sarcophagi

Published online by Cambridge University Press:  23 December 2013

Extract

Winter made a seemingly exhaustive classification when he divided Clazomenian sarcophagi into two main classes, which he called A and B (Anz., 1898, p. 175). His class A is the small class to which belong the big, deep, rectangular sarcophagi with copious decoration in Clazomenian B.F. style (i.e. B.F. without incised lines) like the sarcophagus in the British Museum (Murray, Terracotta Sarcophagi, Pl. 1–7). This has a gable-roof, as had, probably, all the others of this class. His class B is the big class, to which belong the large number of open, trapezoidal sarcophagi with decoration ranging from seventh-century pure East-Greek style down through different phases with different techniques to the most developed Clazomenian B.F. style of the end of the sixth and beginning of the fifth centuries. Recently, fresh evidence has enabled Kjellberg to add a third class, which he calls C (Jahrb., 41, p. 51). The sarcophagi of this new class have features both of A and B, but the style of decoration and the simple, rectangular shape seem to show that they must be considerably earlier than all of A and earlier than the earliest of B.

Type
Research Article
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1930

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 I have suggested that the trapezoidal shape for a time supplants the rectangular: it is possible that the second sarcophagus in Athens (B.C.H., 1913, p. 392) may refute this: the condition is so bad that it is difficult to estimate the style. In the upper picture the presence of four animals, two wild goats, two lions, means that the animals must be shorter, therefore perhaps later; in the lower picture the asymmetry of the scene—a lion in attack in front of an elaborate palmetto and volute pattern—also suggests a later date.