DOI Page / Citation link:
https://doi.org/10.11588/diglit.15680#0165
THE POTTERY.
145
lustrous, and the ornamentation is less fine. XXXIII. 12-14 are other
specimens of the same period.
XXXIII. 16 compared with the foregoing shows a distinct advance, or
rather decline ; the spout is merely pinched out of the rim and the handle-
ledge is unperforated; further, it bears traces of rapid turning on the wheel.
ff XXXIII. 10 is on the border line between the geometric and the
Mycenaean periods, XXXIII. 18 belongs emphatically to the latter. It is
needless to add to these comparisons; the illustrations speak for tliemselves.
Though in some instances the ornamentation follows the fashion of the day
(e.y. XXXIII. 17), yet as a rule the old stock paiterns are kept up.
XXXIII. 18 and 19 are the lineal descendants of XXXIII. 7 and 6.
The type suffers a further alteration when the rim is made slightly
concave (see Fig. 120). A few of the later vases have the design in red
paint, bat as a rule the use of the matt black pigment is kept up even
in the latest period. The final stage of all is represented by XXXIII. 20.
The suspension-handle has become a mere button, the spout is still farther
removed from the prototype than is that of XXXIII. IS), and without the
intermediate links of the series it would be difficult to believe that such a
vase is directly descended from the type with which \\$ started.
It would be easy to make the series still more complele (to follow, for
instance, the transition from the design of XXXIII. 19 to that of 20), but it
is clear enough as it Stands. The only Variation from the normal type that
is at all common is that the suspension-handle is occasionally replaced by an
ordinary loop-handle. XXXIII. 11 affords an instance of tliis on a com-
paratively early vase, but naturally it is on the later types that one more
often finds it. XXXIII. 9 is an isolated Innovation of another kind.
§ 16.—Importcd Potiory of the Ordinary Mycenaean Type.
The fourth and final stage of the Phylakopi settlement is marked by
the predominance of imported Mycenaean wäre (of the 3rd and 4th styles
aecording to F. and L.'s Classification). No other kind of painted pottery
was so plentiful as this, and the insignificant Space which it occupies in our
illustrations is in inverse proportion to the amount of it that was dug up.
For unfortunately there was little of intrinsic interest in the man)' thousand
fragments that passed under our exainination.
The specimens found correspond in ränge with the series from Myeenae
published by F. and L., beginning with marine and Moral designs of fantastic
appearance and ending in the careless scrawlings of Fig. 125. To the earlier
class belongs the magnificent fragment of a large jug reproduced on
PI. XXXI. 1 (a fragment which recalls the Marseilles vase already cited),
while the spearman on PI. XXXII. 16, and the ship on XXXII. 11 are
interesting produets of the later style. The goat on p. 176 is more care-
fully drawn than animals usually are in F. and L.'s 3rd and 4th groups, and
the technique is also remarkable, the outline being painted in lustrous black,
L
145
lustrous, and the ornamentation is less fine. XXXIII. 12-14 are other
specimens of the same period.
XXXIII. 16 compared with the foregoing shows a distinct advance, or
rather decline ; the spout is merely pinched out of the rim and the handle-
ledge is unperforated; further, it bears traces of rapid turning on the wheel.
ff XXXIII. 10 is on the border line between the geometric and the
Mycenaean periods, XXXIII. 18 belongs emphatically to the latter. It is
needless to add to these comparisons; the illustrations speak for tliemselves.
Though in some instances the ornamentation follows the fashion of the day
(e.y. XXXIII. 17), yet as a rule the old stock paiterns are kept up.
XXXIII. 18 and 19 are the lineal descendants of XXXIII. 7 and 6.
The type suffers a further alteration when the rim is made slightly
concave (see Fig. 120). A few of the later vases have the design in red
paint, bat as a rule the use of the matt black pigment is kept up even
in the latest period. The final stage of all is represented by XXXIII. 20.
The suspension-handle has become a mere button, the spout is still farther
removed from the prototype than is that of XXXIII. IS), and without the
intermediate links of the series it would be difficult to believe that such a
vase is directly descended from the type with which \\$ started.
It would be easy to make the series still more complele (to follow, for
instance, the transition from the design of XXXIII. 19 to that of 20), but it
is clear enough as it Stands. The only Variation from the normal type that
is at all common is that the suspension-handle is occasionally replaced by an
ordinary loop-handle. XXXIII. 11 affords an instance of tliis on a com-
paratively early vase, but naturally it is on the later types that one more
often finds it. XXXIII. 9 is an isolated Innovation of another kind.
§ 16.—Importcd Potiory of the Ordinary Mycenaean Type.
The fourth and final stage of the Phylakopi settlement is marked by
the predominance of imported Mycenaean wäre (of the 3rd and 4th styles
aecording to F. and L.'s Classification). No other kind of painted pottery
was so plentiful as this, and the insignificant Space which it occupies in our
illustrations is in inverse proportion to the amount of it that was dug up.
For unfortunately there was little of intrinsic interest in the man)' thousand
fragments that passed under our exainination.
The specimens found correspond in ränge with the series from Myeenae
published by F. and L., beginning with marine and Moral designs of fantastic
appearance and ending in the careless scrawlings of Fig. 125. To the earlier
class belongs the magnificent fragment of a large jug reproduced on
PI. XXXI. 1 (a fragment which recalls the Marseilles vase already cited),
while the spearman on PI. XXXII. 16, and the ship on XXXII. 11 are
interesting produets of the later style. The goat on p. 176 is more care-
fully drawn than animals usually are in F. and L.'s 3rd and 4th groups, and
the technique is also remarkable, the outline being painted in lustrous black,
L