DOI Page / Citation link:
https://doi.org/10.11588/diglit.15680#0152
132
C. C. EDGAR
On Fig. 102, however, tlie stalks seein to be connected vvith each other some-
what after the scheme of Schuchhardt, p. 270, Fig 277. Thewavy ivy spray
with leaves springing alternately from either side, which according to Riegl
is the main achievement of Mycenaeau decora-
tive avt, was neither attained to nor copied on
the native pottery of Melos, but all these
experiments show that the spirit of progress
was as active here as elsewhere. Let me
note again in conclusion that all the ivy-leaf
friezes spoken of above bclong to the latest
phase of the Melian school, that which dis-
!Fig. 102.—Fragment with Ivy- penses with accessories in matt black.
lbaf Pattern (2 : 3). a few 0t]ier < ivy-leaf patterns are shown
on XXVIII. 13-15. The formal plant on
XXVIII. 4 and 5, which resembles the ivy more than any other type, is, like
the flower derived from XXXI. 22, a spiral motive converted into a floral.
3. XXVII. 6 is one of the rarer forms ; or at least few fragments among
the finds could be recognized as belonging to the same type. It has a
curving handle like those of the jugs on XXVII. 8-9, and a small ledge-
handle on each side; the spout is not added separately but merely pinched
out. Part of a similar vase was decorated with branching blades of grass
(in lustrous red), the same design as occurs on XIX. 10.
4. The fragments collected on PI. XXVI. belong to large cups or bowls of
varying shades of shape. XXVI. 5 and 6 are examples of a very common
form; 1, 3, 4 represent a superior type with a distinct neck and a more elegant
outline; while another and probably later variety may be restored from such
fragments as XXVI. 21. They have all a flat handle as shown on XXVI.
2-6. A circular stud of clay is frequently attached to the handle just where
it joins the rim, in imitation of the nail-head on a metal vase. In a few cases
the rim is very slightly pinched, so as to suggest, rather than actually form,
a spout. Some of the best of these vases, e.g. XXVI. 1, have a small hole pierced
throngh the bottom, the intention of which is by no means clear (cf. p. 118).
The vases of the present class have freqnently a simple pattern painted
on the exterior of the base. The pattern sometimes consists of four (or three)
sets of semi-circles back to back (e.g. XXIX. 11 and 122; cf. the corre-
sponding angular pattern in the geometric style VIII. 3) ; sometimes it is a
spiral, XXVI. 9; but the most common device of all is a broad cross as on
XXVI. 8. Other base-patterns are given on PI. XXVI. 7-11. For the body of
the vase a broad spiral frieze, like those on the jugs described above, is a very
common ornament. The large retnrning spiral on XXVI. 1 ought to be noticed
for the sake of the technique; the background is painted-in in black against
which the spiral pattern Stands out in the light yellow ground-colour of the
clay slip. A band of black dots, as on XXVI. 9, &c, is a frequent accompani-
1 Light-coloured surfaoe ; lustrous brown- 2 Cf. the Terramare vases from Castione in
Jiluck paint. the Parma Museum.
C. C. EDGAR
On Fig. 102, however, tlie stalks seein to be connected vvith each other some-
what after the scheme of Schuchhardt, p. 270, Fig 277. Thewavy ivy spray
with leaves springing alternately from either side, which according to Riegl
is the main achievement of Mycenaeau decora-
tive avt, was neither attained to nor copied on
the native pottery of Melos, but all these
experiments show that the spirit of progress
was as active here as elsewhere. Let me
note again in conclusion that all the ivy-leaf
friezes spoken of above bclong to the latest
phase of the Melian school, that which dis-
!Fig. 102.—Fragment with Ivy- penses with accessories in matt black.
lbaf Pattern (2 : 3). a few 0t]ier < ivy-leaf patterns are shown
on XXVIII. 13-15. The formal plant on
XXVIII. 4 and 5, which resembles the ivy more than any other type, is, like
the flower derived from XXXI. 22, a spiral motive converted into a floral.
3. XXVII. 6 is one of the rarer forms ; or at least few fragments among
the finds could be recognized as belonging to the same type. It has a
curving handle like those of the jugs on XXVII. 8-9, and a small ledge-
handle on each side; the spout is not added separately but merely pinched
out. Part of a similar vase was decorated with branching blades of grass
(in lustrous red), the same design as occurs on XIX. 10.
4. The fragments collected on PI. XXVI. belong to large cups or bowls of
varying shades of shape. XXVI. 5 and 6 are examples of a very common
form; 1, 3, 4 represent a superior type with a distinct neck and a more elegant
outline; while another and probably later variety may be restored from such
fragments as XXVI. 21. They have all a flat handle as shown on XXVI.
2-6. A circular stud of clay is frequently attached to the handle just where
it joins the rim, in imitation of the nail-head on a metal vase. In a few cases
the rim is very slightly pinched, so as to suggest, rather than actually form,
a spout. Some of the best of these vases, e.g. XXVI. 1, have a small hole pierced
throngh the bottom, the intention of which is by no means clear (cf. p. 118).
The vases of the present class have freqnently a simple pattern painted
on the exterior of the base. The pattern sometimes consists of four (or three)
sets of semi-circles back to back (e.g. XXIX. 11 and 122; cf. the corre-
sponding angular pattern in the geometric style VIII. 3) ; sometimes it is a
spiral, XXVI. 9; but the most common device of all is a broad cross as on
XXVI. 8. Other base-patterns are given on PI. XXVI. 7-11. For the body of
the vase a broad spiral frieze, like those on the jugs described above, is a very
common ornament. The large retnrning spiral on XXVI. 1 ought to be noticed
for the sake of the technique; the background is painted-in in black against
which the spiral pattern Stands out in the light yellow ground-colour of the
clay slip. A band of black dots, as on XXVI. 9, &c, is a frequent accompani-
1 Light-coloured surfaoe ; lustrous brown- 2 Cf. the Terramare vases from Castione in
Jiluck paint. the Parma Museum.