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the horses into regional groupings, he initiates some new ones (e.g., Locris, Phocis, Messenia), refines those previously proposed (e.g., Attica, Arcadia), and reevaluates their interrelationships (e.g., three phases of Laconian influence on Argive style and three phases of Argive influence on Laconian). Readers who found problematic the previous classifications of Geometric horse styles by H.-V. Herrmann (JdI 79 [1964] 17-71) and W.-D. Heilmeyer (OlForsch 12 [1979]) may be more fully persuaded by Zimmermann's methodology, which is fully explained in part I. He first identifies as local productions the figurines that exhibit a demonstrable technical and stylistic homogeneity within a single region. This seemingly obvious approach had not hitherto been applied to the figurines: Herrmann's attributions presupposed a link to major poleis, and Heilmeyer's study was based upon the figurines from Olympia and assumed that most were produced in local ateliers. Within each region the author systematically catalogues and describes the relevant horse figurines before examining their variations, stylistic influences, technique, and spatial-temporal distribution. This comprehensive and methodic

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Author

Carol C. Mattusch; Andrew Stewart

Published

1991

Field

Arts and Humanities (Social Sciences)