Atkinson, Thomas [Mitarb.]
Excavations at Phylakopi in Melos — London, 1904

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1 cm


with the black pattern was tlie encroaching element; in the new style it is
the lustrous red band that is the intruder.

For some time the red pigment plays a subsidiary part. The design is
drawn entirely in black ; tlie red is used merely as a dividing band between
two friezes or to fill up a vacant space outlined in black such as the body of
a bird. Bot gradually it makes its way into the essential details of the
design. A single example will serve to sho'w how the mode changed; the
design on Fig. 96 is in black and it is only the stamens of the flowers that
are coloured red; on Fig. 97 the case is exactly reversed, the stamens are
black and the rest of the flower is red.

Except for the burnished red bands with which they are decorated
XX. 2-4 do not differ from the pottery of Section 9. Tlie rest of the
fragments and vases on Pls. XX. and XXI. may be conveniently treated as
one group on the ground of style as well as of
technique. The types to which these fragments
belong are (so far as can be made out) as

1. Jugs like XXI. 1. In some cases the
mouth is pinched in on both sides. Cf. the
geometric types p. 101.

2. Beaked jugs like XIV. 1.

3. Beaked jugs with short spout and broad
Hat handle {e.g. XXI. 12).

4. Amphorae like Fig. 94. Cf. XI. 5.

5. Basket-handled vases like Fig. 91. The

° djo. in.—Vase with Design

handle is sometimes Hat, sometimes round. IN Black and Red1 (1 : 4).

6. Vases with a globular body like 5, a

projecting spout like that of XIX. 8, and a vertical handle behind.

7. Vases with a slight neck and flat rim (e.g, XX. 13, IG), probably to
be restored with spout and handle.

8. PithoL Enough remains of the vessel of which XXI. 15 is a
fragment to show that its general shape was that of the early geometric type
with low belly and Suspension handles {e.g. VII. 1).

As regards the decoration of this group the most obvious feature is the
constant occurrence of large red discs, whether used as a mere ornament or
as a representation of fruits and of birds' bodies. That the artist of this
period was able to draw birds with perfect freedom is shown by such
examples as XVI. 4 and 20, but the intrusion of decorative elements into
naturalistic designs is thoroughly characteristic of Mycenaean vase-painting.
Nor is this round-bodied type of bird pecuiiar to Melos. It appears to have
been a widespread Convention. We find it on the shaft-grave vases (F. and
L., Myle. Thongef(isse,V\. X. 45) and on other pottery of the Mycenaean period

1 Handle, spout, and part of body restored ; posite side and shnilar tree below spout. (The

whitish slip, baked red in places ; body of line round rim is not eontinuous but inter-

bird and stein of tree filled-in in slightly lus- rupted, — — _ ).
trous reddish-brown ; siinilar bird on the op-
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