DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15680#0116
96
C. C. EDGAR
is one serious objection to the theory. It is only a small mat that could con-
veniently be used for such a purpose, and we have seen reason for believing
tbat many at least of the mats were of considerable diameter and that the
vases were frequently set down on them quite away from the centre. We
must therefore fall back on the other alternative, viz., that the vases were set
out on them to dry before being put into the kiln.
Similar mat impressions have been found in the Troad and in the
Neolithic o'r carly Bronze Age Settlement of Tordos in Dacia, and an isolated
example comes from North Italy (Hoernes, Urgeschichte, p. 300; 'E</>. 'Ap%.
loc. cit.). Towards the south the ränge of the practice extends to Grete,1
but apparently not to Cyprus. It thus forms one of the many links between
the Aegean and the north in the pre-Mycenaean age.
I now proceed to a Classification of the jDottery with painted geometric
designs, treating it under two main heads: (1) vases with designs in
lustrous black or red ; (2) vases with matt black designs. The pottery of
the third technique mentioned on p. 93 does not require separate treat-
ment. It is comparatively small in bulk, and neither in the matter of
forms nor of patterns does it differ essentially from (1). It will be sufficient
therefore to refer to it occasionally when dealing with the types of the first
main group.
§ G.— Vases with Geometrie Designs in Lustrmts Paint.
The vases of this fabric are made of gritty, fairly hard-baked clay vary-
ing in colour from grey to red. The design is painted on a prepared ground
of whitish slip applied to the outside of the vase: it is noticeable that the
lower portion of the vase, below the limits of the design, is frequently left
bare or very carelessly coated, and there is usually a zone of slip round the
top of the interior. Below is a list of forms.
1. PI. VII. I and XXXIV. 1 (to begin the list with the largest kind) are
typical pithoi of the geometric period. The characteristics of the type are
the broad rim, the suspension-handles and the low belly. (The pithos of the
later period (e.g. XXXIV. 14) isnot unlike the early type turned upside down.)
There is a slight neck round the inside of the rim, visible on VII. 1 but
better illustrated on VII. 2-5, which is intended for holding a lid like VIII. 1,
and there are holes on each side of the rim for tying the lid on. VIIL 4 is a
vase of the same type as VII. 1 but smaller ; it is to vessels of this size that
the lids VIII. 1-3 have belonged, though fragments were found of larger ones
also: they are hollow underneath and have a small hole pierced through the
centre. Still smaller vases of the same shape were made, and VII. 10 is a
fragment of one of these. The same type, in its several sizes, was also com-
paratively common in red or black wäre with white designs (X. IS ff.).
1 A speeimen was found at Cnossos this year, but it has not yet been ascertained whether
they are common in Crete.
C. C. EDGAR
is one serious objection to the theory. It is only a small mat that could con-
veniently be used for such a purpose, and we have seen reason for believing
tbat many at least of the mats were of considerable diameter and that the
vases were frequently set down on them quite away from the centre. We
must therefore fall back on the other alternative, viz., that the vases were set
out on them to dry before being put into the kiln.
Similar mat impressions have been found in the Troad and in the
Neolithic o'r carly Bronze Age Settlement of Tordos in Dacia, and an isolated
example comes from North Italy (Hoernes, Urgeschichte, p. 300; 'E</>. 'Ap%.
loc. cit.). Towards the south the ränge of the practice extends to Grete,1
but apparently not to Cyprus. It thus forms one of the many links between
the Aegean and the north in the pre-Mycenaean age.
I now proceed to a Classification of the jDottery with painted geometric
designs, treating it under two main heads: (1) vases with designs in
lustrous black or red ; (2) vases with matt black designs. The pottery of
the third technique mentioned on p. 93 does not require separate treat-
ment. It is comparatively small in bulk, and neither in the matter of
forms nor of patterns does it differ essentially from (1). It will be sufficient
therefore to refer to it occasionally when dealing with the types of the first
main group.
§ G.— Vases with Geometrie Designs in Lustrmts Paint.
The vases of this fabric are made of gritty, fairly hard-baked clay vary-
ing in colour from grey to red. The design is painted on a prepared ground
of whitish slip applied to the outside of the vase: it is noticeable that the
lower portion of the vase, below the limits of the design, is frequently left
bare or very carelessly coated, and there is usually a zone of slip round the
top of the interior. Below is a list of forms.
1. PI. VII. I and XXXIV. 1 (to begin the list with the largest kind) are
typical pithoi of the geometric period. The characteristics of the type are
the broad rim, the suspension-handles and the low belly. (The pithos of the
later period (e.g. XXXIV. 14) isnot unlike the early type turned upside down.)
There is a slight neck round the inside of the rim, visible on VII. 1 but
better illustrated on VII. 2-5, which is intended for holding a lid like VIII. 1,
and there are holes on each side of the rim for tying the lid on. VIIL 4 is a
vase of the same type as VII. 1 but smaller ; it is to vessels of this size that
the lids VIII. 1-3 have belonged, though fragments were found of larger ones
also: they are hollow underneath and have a small hole pierced through the
centre. Still smaller vases of the same shape were made, and VII. 10 is a
fragment of one of these. The same type, in its several sizes, was also com-
paratively common in red or black wäre with white designs (X. IS ff.).
1 A speeimen was found at Cnossos this year, but it has not yet been ascertained whether
they are common in Crete.