Notes on the Development of the Greek Frieze

HIS paper does not purport to be an exhaustive study of the continuous Greek frieze and of its many problems; it aims rather at recording some observations and suggesting some theories, in the hope of stimulating further discussion and comments.7Certain difficult questions will be touched upon only in so far as they relate to my arguments, with full understanding of the fact that much is still to be learned which might considerably affect the interpretation of the subject.Excavations on the coast of Asia Minor and in the Western colonies are continually producing new material of considerable importance in the study of early architecture, and any comments on chronology and development may perhaps appear premature at this point.Yet it does seem worthwhile to submit a preliminary working hypothesis against which all new evidence may be tested either in support or rejection.It also seems appropriate to dedicate these notes to one who has so greatly furthered our knowledge of the Greek frieze.It is irrelevant to my argument to speculate on the geographical origin of the continuous frieze.It suffices to acknowledge here the most widely accepted theory that the idea of the figural band came to the Greek world from the Orient; indeed great similarity (in form, decorative effect, general subject matter and occasional details) exists between Assyrian friezes and the early Greek terracotta revetments.2More pertinent, however, is the issue concerning the nature and purpose of the frieze.Some scholars maintain that the frieze originated as a purely decorative form, while others believe that it served a practical function.3This latter " utilitarian " theory-1 The term " frieze" is here used to mean a continuous figural decoration, regardless of material, technique, or even architectural connections or location.Although terracotta revetments are manufactured as plaques, when they are placed in a continuous sequence and the subject matter is repetitive they qualify as friezes, in much the same way as the Parthenon frieze technically consists of individual slabs.The major work on Greek friezes is P. Demangel, La Frise lonique, Paris, 1932, henceforth quoted as Demangel.Cf. also its review by H. M6bius, Gnomon, XI, 1935, pp.652-656.The subject has been extensively treated recently by H. Kahler in Enciclopedia dell'Arte Anticac s.v.Fregio; I have made frequent use of his comments and ideas in this paper.Since I am working on a longer study of architectural sculpture, which will incorporate the content of this paper in expanded form, criticism and corrections will be most welcome.2 Some scholars maintain that the overwhelming influence of Egypt on Archaic Greek sculpture in general should not be overlooked, and seek a possible derivation and ancestry for the continuous Greek frieze in a country famous for its decoration of surfaces within registers.M6bius (op.cit.), for instance, advocates Egyptian influence, perhaps reaching the Greek mainland through Crete.Hittite and Babylonian connections are also often quoted in this respect (see, e.g., Demangel, pp.45-49), but the time-gap between these works and Greek friezes, as well as geographical and historical difficulties, make these statements harder to substantiate.3 For instance, Demangel supports the utilitarian theory; M6bius and Kahler oppose it

Ancient history · Archaeology · Art · Frieze · History · Linguistics and language evolution

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