ABSTRACT
These two tendencies mutually influence even while they are in opposition to one another. The Corinth potters have already gone to the school of Ionianism; 1 continental art gets from it a rich repertory of motifs, and the statuary’s art itself is becoming softened by the contact. There has been a tendency to exaggerate this influence and to see nothing but Ionian characters in the Chrysapha reliefs, the Spartan base, and the Cretan and Sicilian sculptures; it has been said that even in the 5th century Polyclitus has lost the primitive solid frame of the Dorians, that he descends from the Ionian sculptors such as Bathycles of Magnesia, who came to the Peloponnese in the 6th century to initiate it. 2 One may admit a less extreme thesis which, while recognizing this undeniable influence, yet allows the Peloponnesian studios to keep their characteristic features.
