DOI Page / Citation link:
https://doi.org/10.11588/diglit.15680#0150
130
C. C. EDGAR
undergoes certain .clianges, varying from the squat, flat-bottomed type repre-
sented by XXV. 1 fco XXV. 2 with its refined and elongated base. The
same elongation of the base is conspicuous on several other Mycenaean types,
aud is indeed a feature of the period, On such vases as XXV. 9 and also
on those of the following type, the neck is continued round the inner end
of the spout and an outlet is pierced through it.
2. Along with these vases may be grouped a common type of jug repre-
sented by XXV. 6, and by the two splendid specimens on XXV. 4-5. Gom-
pare the Abbot vase (Perrot et Chipiez, p. 869, Fig. 436) and also a vase from
Attica (F. and L., Myh Vasen, xix, 136), both of which are of comparatively
early style. A large jug from Cnossos which closely resembles XXV, 4-5
both in shape and in decoration is an indication that the home of this type as
of so many others is to be sought in Crete.
The majority of the vases which come under these two types are
decorated with a broad frieze of spirals. There is usually a rosette of dots
in the centre of each spiral, The triangulär interstices between each pair of
spirals, one above and one below, are filled up in various ways, some of which
deserve a few remarks. The simplest method of Alling up this triangulär
space is to insert a triangulär spot, as is done für instance on XXV. 5. This
triangulär mark, however, is usually attached to the outer line of.the spiral,
and thus we get that favourite scheine of which XVII. 15 is an excellent
instance and of which a debased form is very frequent on later fabrics.
Another pattern to which the triangulär adjunet gave rise inay be seen on
XXXI. 22 and, what is quite in keeping with the character of Aegean
art, we find this form used to represent a growing flower on another
Mycenaean fragment of good style (F. and L. M.V., xxv. 189c). A still more
common device for Alling in the interstices consists of one or more (usually
two) triangulär dots attached to the end of a wavy stalk—another quasi-
vegetable motive; it will be observed that the stamens on the latest of the
' flower vases,' Fig. 97, are of this ornamental form. What is apparently the
same design occurs on one of Mr. Evans's pictographic gems (Cretan Pict. p. 297,
Fig. 36 a). The scheine of XXVIII. 2 is akin to this, but is certainly a great
iniprovement on it; here the ' ivy-leaves' grow from flexible stalks and creep
into all the corners in a natural and charming manner.1 Indeed this design
is even better than the well-known Egyptian and Mycenaean scheme in which
the similar interstices are filled up by lotus flowers; the lotus flowers fill the
spaces admirably, but not with the gracefulness of natural growtb. It should
be noted that these naturalistic sprays are executed in lustrous paint, like
the spirals which they accoinpany, while the other accessories of which
mentionhas been made are painted in matt black.
We find also a few examples of more complicated spiral Systems on the
Phylakopi pottery. The large fragment XXIX. 13 may be cited here, although
1 Mr. Hopkinson restores this design as a
row of concentric circles (J.H.S. 1902, p. ö(i,
Fig. 12), bat it is reully a frieze of spirals of
the usual type. I do not think concentric
circles appear at all on the potteiy of this
period.
C. C. EDGAR
undergoes certain .clianges, varying from the squat, flat-bottomed type repre-
sented by XXV. 1 fco XXV. 2 with its refined and elongated base. The
same elongation of the base is conspicuous on several other Mycenaean types,
aud is indeed a feature of the period, On such vases as XXV. 9 and also
on those of the following type, the neck is continued round the inner end
of the spout and an outlet is pierced through it.
2. Along with these vases may be grouped a common type of jug repre-
sented by XXV. 6, and by the two splendid specimens on XXV. 4-5. Gom-
pare the Abbot vase (Perrot et Chipiez, p. 869, Fig. 436) and also a vase from
Attica (F. and L., Myh Vasen, xix, 136), both of which are of comparatively
early style. A large jug from Cnossos which closely resembles XXV, 4-5
both in shape and in decoration is an indication that the home of this type as
of so many others is to be sought in Crete.
The majority of the vases which come under these two types are
decorated with a broad frieze of spirals. There is usually a rosette of dots
in the centre of each spiral, The triangulär interstices between each pair of
spirals, one above and one below, are filled up in various ways, some of which
deserve a few remarks. The simplest method of Alling up this triangulär
space is to insert a triangulär spot, as is done für instance on XXV. 5. This
triangulär mark, however, is usually attached to the outer line of.the spiral,
and thus we get that favourite scheine of which XVII. 15 is an excellent
instance and of which a debased form is very frequent on later fabrics.
Another pattern to which the triangulär adjunet gave rise inay be seen on
XXXI. 22 and, what is quite in keeping with the character of Aegean
art, we find this form used to represent a growing flower on another
Mycenaean fragment of good style (F. and L. M.V., xxv. 189c). A still more
common device for Alling in the interstices consists of one or more (usually
two) triangulär dots attached to the end of a wavy stalk—another quasi-
vegetable motive; it will be observed that the stamens on the latest of the
' flower vases,' Fig. 97, are of this ornamental form. What is apparently the
same design occurs on one of Mr. Evans's pictographic gems (Cretan Pict. p. 297,
Fig. 36 a). The scheine of XXVIII. 2 is akin to this, but is certainly a great
iniprovement on it; here the ' ivy-leaves' grow from flexible stalks and creep
into all the corners in a natural and charming manner.1 Indeed this design
is even better than the well-known Egyptian and Mycenaean scheme in which
the similar interstices are filled up by lotus flowers; the lotus flowers fill the
spaces admirably, but not with the gracefulness of natural growtb. It should
be noted that these naturalistic sprays are executed in lustrous paint, like
the spirals which they accoinpany, while the other accessories of which
mentionhas been made are painted in matt black.
We find also a few examples of more complicated spiral Systems on the
Phylakopi pottery. The large fragment XXIX. 13 may be cited here, although
1 Mr. Hopkinson restores this design as a
row of concentric circles (J.H.S. 1902, p. ö(i,
Fig. 12), bat it is reully a frieze of spirals of
the usual type. I do not think concentric
circles appear at all on the potteiy of this
period.