traditions of the other style that h;id survived into this period, were incor-
porated. This is especially true of vases like those grouped together on
PI. XXIII and XXIV, and in their case as compared with their models it is
difticult to decide whether to admire more the Cretan lustre and brilliancy of
effect and distinction of style, or the Melian sober mellownesa of tone and
homely charm of contour.
Most of this pottery belongs to the transitional class of monochrome
wäre with details in white, reminiscent of the polychrome style, on lustrous
bi-own-black glaze design on a buff ground, which in Crete immediately
precedes the fully developed " Palace Style." Fragments of a fine oxample of
this fabric of the jug type, with neck and handle like XXVII, 8,!) had details
in white on lustrous brown glaze design of an architectonic character on the
Shoulder on a warm buff polished slip in the manner so typical in Crete at
the end of the first period of the palace at Cnossos. The vase to which the
fragments belonged must have been an importation from Crete. It came
entirelj" into the same category as the vases from Zakro in East Crete
published in J.H.S. 1902, PI. XII. 1-3. The fragments were iound along with
other characteristic pottery in noor-deposit belonging to an early house of
the Third City at F 4 : l-ö.
That, however, in accordance with the evidence from Crete, fabrics with
polychrome elements of design light on a dark ground still survived in
traditional use down to this period, is shown by the occasional occurrence of
Melian adaptations Coming into the sanie general category as the vases with
Hower designs, PI. XXIII. 1-7. Unpublished fragments of a vase with similar
tlower-design light on a lustreless dark ground, which again with its undulat-
ing contours appears dark on the light ground of the rest of the vase, have the
stamens in red glaze, the petals in the pale buff of the clay slip ' reserved'
in the dark ground. The large rosette-design of the pedestal-vase on page
I3S, Fig. 110, which was found in noor-deposit of the same period at F 2 : 12,
has a similar polychrome effect, similarly produced, of light design on a dark
ground.1 This curious technical device survives at Cnossos into a later era.
By means of it, indeed, as we shaH see, light design on a dark ground
becomes a regulär dement of design in the architectonic arrangement as
well as in subordinate details of the Palace Style with dark design on a
2. There are, however, indications that the intercourse with Crete
extended beyond the early period of the Third City to which are to
be referred the above Cretan fabrics and the Melian adaptations for which
the}* furnished the inspiration.
Yery interesting in this connection is the vase fragment XXXI. 1. It
is almost certainly from Crete and belongs to the class of wäre which at
Cnossos is characteristic of the second period of the palace and is called
the grand Palace Style. Like so many Minoan vases of that time it
exhibits in subordinate details a curious survival of the Minoan technique
1 Compare also the cup on page 133, Fig. 107.