DOI Page / Citation link:
https://doi.org/10.11588/diglit.15680#0135
THE POTTERY
115
so many speciniens are exhibited on Pls. XVI. and XVII. In the matter of
shape there is verylittle Variation aniong tbem. XVI. 6, which on technical
«'rounds niay be regarded as one of the latest in the whole grou p, has a rather
more elegant ibot than the others and the handle sits a little higher. XXIX.
3 niay be cited as a decidedly later development of the same type ; the upper
part of the vase has a coneave curve and the pattern is painted entirely in
lustrous red.
For vases of the same shape found at Mycenae and Santorini see F. and L.
PI. xii, 79, xxiv, 176-8; it will be observed that those from Mycenae differ
BOmewhat from the Melian group. The form appeara to be the prototype
of the long-footed kylix so characteristic of the mature Mycenaean period.
Occasionally some details in the design are executed in lustrous red or
brown, and the pattern of XVI. G consists of a semi-lustrous brown panel
dotted with white spots. As often as not the inside is covered with a coat of
matt red.
The ornamentation of these cups is confined to that half of the vase
which is to the right side of the handle, as in the case of 4 (d), and isenclosed
(«) (6)
Fio. 88,— Panelled Cup with Floral Design (1 :3).
witfain two vertical lines. For that reason we came to call theni by the name
of panelled cups, and, as the name is a convenient one, I shall continue to
use it. The only exception to the above principle is XVI. 7, the body of
which is coinpletely encircled by the design. A frequent device is to place
the chief design in the upper portion of the panel and to fill up the lower
portion with horizontal bands arranged in various ways and sometimes
diversified by a curving line {e.g. XVI. 8-9). The band above the foot goes
of course right round.
Among the purely linear patterns XVII. 7 and XVII. 8 will be easily
recognized as variations on XVII. 2 and XVII. 5 respectively. Curvilinear and
vegetable motives intermingle a good deal. On XVI. 5 we find a row of
spirals half transformed into a row of growing plants; XVII. 26 is another
instance of the same kind, while XVII. 28 is definitely a plant. In XVII. 33,
again, we bave a small flower or fruit grafted on a Spiral.1 Another character-
1 The Binu.ll appeudages on XVII. 13 inay also be of vegetable origin (cf. XXX. 1).
115
so many speciniens are exhibited on Pls. XVI. and XVII. In the matter of
shape there is verylittle Variation aniong tbem. XVI. 6, which on technical
«'rounds niay be regarded as one of the latest in the whole grou p, has a rather
more elegant ibot than the others and the handle sits a little higher. XXIX.
3 niay be cited as a decidedly later development of the same type ; the upper
part of the vase has a coneave curve and the pattern is painted entirely in
lustrous red.
For vases of the same shape found at Mycenae and Santorini see F. and L.
PI. xii, 79, xxiv, 176-8; it will be observed that those from Mycenae differ
BOmewhat from the Melian group. The form appeara to be the prototype
of the long-footed kylix so characteristic of the mature Mycenaean period.
Occasionally some details in the design are executed in lustrous red or
brown, and the pattern of XVI. G consists of a semi-lustrous brown panel
dotted with white spots. As often as not the inside is covered with a coat of
matt red.
The ornamentation of these cups is confined to that half of the vase
which is to the right side of the handle, as in the case of 4 (d), and isenclosed
(«) (6)
Fio. 88,— Panelled Cup with Floral Design (1 :3).
witfain two vertical lines. For that reason we came to call theni by the name
of panelled cups, and, as the name is a convenient one, I shall continue to
use it. The only exception to the above principle is XVI. 7, the body of
which is coinpletely encircled by the design. A frequent device is to place
the chief design in the upper portion of the panel and to fill up the lower
portion with horizontal bands arranged in various ways and sometimes
diversified by a curving line {e.g. XVI. 8-9). The band above the foot goes
of course right round.
Among the purely linear patterns XVII. 7 and XVII. 8 will be easily
recognized as variations on XVII. 2 and XVII. 5 respectively. Curvilinear and
vegetable motives intermingle a good deal. On XVI. 5 we find a row of
spirals half transformed into a row of growing plants; XVII. 26 is another
instance of the same kind, while XVII. 28 is definitely a plant. In XVII. 33,
again, we bave a small flower or fruit grafted on a Spiral.1 Another character-
1 The Binu.ll appeudages on XVII. 13 inay also be of vegetable origin (cf. XXX. 1).