DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15680#0110
90
C. C. EDGAR
tional compromise between two types of independent orjgiii. But as the
Phylakopi vase belongs to the early geometric school it is more reasonable to
conclude tliat the duck-vase (ov some closely
cognate type) was one of tlie elements out
of which the idea of the pseudamphora
was evolved.2 T niay add that fragments
were found of one or two other duck-vases
with painted designs, but these were of the
■ usual form.
The designs are confined to the Upper
parfc of the vase and are arranged round the
conical top. Tlie conical top (or sham Lid)
is frequently surrounded by impressed rings
'(e.rj. PI. IV. G) like tlie lid of the stone pyxis
fi'Oin Amorgos already referred to, or by
some other pattern suited to a circular
space, sucli as V. 12; and this central
pattern is encircled by a frieze of some
kind, such as the zigzag band of IV. G, or
the lozenges of V. 9. Another favourite
System of decoration (akiu to the former), is illustrated by IV. 8 and
V. 10; narrow Strips, more or less ornate, radiate from the apex of the
vase, and sometimes, as in V. 10, patterns are placed in the intermediate
Spaces. PI. V. S and 1] are perhaps more elaborate developments of the
same System. The Shoulder patterns on IV. 6 might be interpreted as the
wings of the irävia. Some of the duck-vases found at Phylakopi häd uo
incised design at all, but these were in a minority.
As regards details, one frequent feature of these designs is the border of
small slanting incisions—one might call it a stitch pattern—of which PL V.
10 presents the most conspicuous example ; it occurs also along the inside of the
zigzag band on IV. 6, and on the Shoulder pattern of the same vase. Another
favourite niethod of decoration is to emphasize a pattern by covering the surface
with small punctures, or, more correctly, by stippling it with white dots ; the
lozenges on IV. 11 and the small circles on IV. 8 are treated in this way.
1 Light-coloured clay, greenish slip, black The vase niay perhaps not be of Melian
glaze-paint changing to red in places ; small fabrio, but there is no reason for divoroing it
protection behind ; pattern round inside of from, and dating it later than the painted
mouth. <Z~~\ x geometric wäre of sect. 6.
The same vase bears a remarkable resem-
blance to certain Apulian askoi which Messrs.
Orsi and Patroni have ingeniously derived
from the pseudamphora (M<m. ant. vi. p.
2 The design on this vase has nothing in 391, l'l. XIII). In each case \ve have the
common with the usual decoration of the same conical top surmounted by a Ioop
pseudamphorae, but it is Worth noting that handle and the same side spout. It is evident
the eross-hatched band round the lower por- therefore that the pseudamphora is not the
tion of the body oecurs on the late pseudam- parent of the ankos but merely a related form,
phorae flgured on the toinb of Ramses III. Kor early Mycenaean asl-oi see p. 135.
C. C. EDGAR
tional compromise between two types of independent orjgiii. But as the
Phylakopi vase belongs to the early geometric school it is more reasonable to
conclude tliat the duck-vase (ov some closely
cognate type) was one of tlie elements out
of which the idea of the pseudamphora
was evolved.2 T niay add that fragments
were found of one or two other duck-vases
with painted designs, but these were of the
■ usual form.
The designs are confined to the Upper
parfc of the vase and are arranged round the
conical top. Tlie conical top (or sham Lid)
is frequently surrounded by impressed rings
'(e.rj. PI. IV. G) like tlie lid of the stone pyxis
fi'Oin Amorgos already referred to, or by
some other pattern suited to a circular
space, sucli as V. 12; and this central
pattern is encircled by a frieze of some
kind, such as the zigzag band of IV. G, or
the lozenges of V. 9. Another favourite
System of decoration (akiu to the former), is illustrated by IV. 8 and
V. 10; narrow Strips, more or less ornate, radiate from the apex of the
vase, and sometimes, as in V. 10, patterns are placed in the intermediate
Spaces. PI. V. S and 1] are perhaps more elaborate developments of the
same System. The Shoulder patterns on IV. 6 might be interpreted as the
wings of the irävia. Some of the duck-vases found at Phylakopi häd uo
incised design at all, but these were in a minority.
As regards details, one frequent feature of these designs is the border of
small slanting incisions—one might call it a stitch pattern—of which PL V.
10 presents the most conspicuous example ; it occurs also along the inside of the
zigzag band on IV. 6, and on the Shoulder pattern of the same vase. Another
favourite niethod of decoration is to emphasize a pattern by covering the surface
with small punctures, or, more correctly, by stippling it with white dots ; the
lozenges on IV. 11 and the small circles on IV. 8 are treated in this way.
1 Light-coloured clay, greenish slip, black The vase niay perhaps not be of Melian
glaze-paint changing to red in places ; small fabrio, but there is no reason for divoroing it
protection behind ; pattern round inside of from, and dating it later than the painted
mouth. <Z~~\ x geometric wäre of sect. 6.
The same vase bears a remarkable resem-
blance to certain Apulian askoi which Messrs.
Orsi and Patroni have ingeniously derived
from the pseudamphora (M<m. ant. vi. p.
2 The design on this vase has nothing in 391, l'l. XIII). In each case \ve have the
common with the usual decoration of the same conical top surmounted by a Ioop
pseudamphorae, but it is Worth noting that handle and the same side spout. It is evident
the eross-hatched band round the lower por- therefore that the pseudamphora is not the
tion of the body oecurs on the late pseudam- parent of the ankos but merely a related form,
phorae flgured on the toinb of Ramses III. Kor early Mycenaean asl-oi see p. 135.