DOI Page / Citation link:
https://doi.org/10.11588/diglit.34678#0014
14
TRANSACTIONS, DEPARTMENT OF ARCHAEOLOGY, U. OF P.
Lastly/ there is to be noted in the designs of this period an increase in
naturalism. The tendrils in Fig. 12 and the leaflike design in Fig. 13
resemble nature more closely than did any design in the Early Minoan III
Fig. 12, from .6. & A. 1902-3
IX, p. 303, Fig. 2.
period, although now, as then, naturalistic patterns are formed from recti-
linear and curvilinear motives.
MIDDLE MlNOAN II.
The pottery of the succeeding division of the middle period is well known.
It has long been termed "Kamares ware" after the local name of the cave on
Mt. Ida, where it was first founds It has attracted the attention of scholars
because of the quantity in which ithasappeared (see table opp.p. 50) and because
of the delicacy of its shapes, the richness of its color, and the harmony of its
designs. In contrast with the thick clay and sturdy shapes of the preceding
period we note here a clay as light and thin as that of a modern Haviland tea-
cup. The cups of this "eggshell ware" show a variety of graceful shapes,
which attests the high degree of technical skill to which the potter has attained
(see, e. g., J. R. &, 1903, XXIII, PI. V). The ornamentation consists in some
cases of relief work but more commonly of polychrome painted patterns applied
to a dark body paint. The chief colors are white, orange, crimson, red, and
yellow. Such perfection of technique implies a civilization far removed from
* A more illuminating example of complex non-imitative Middle Minoan I design is
shown in PI. I of -B. X A. 1904-1905, XI, which has been issued since this paper went to
press.
*8ee jPa?* *7Mssos, 1886, X, p. 339 ff. and Pom. ALP. IX, p. 100, Mr. Dawkins has
pointed out that this name cannot properly be used of both technique and period. See P.
S. A. 1903-4, X, p. 192.
Fig. 11, from P. & A. 1902-3,
IX, p. 305, Fig. 5.
Fig. 13, from 7Va?is%cPo?Ts I,
Part III, PI. XXV, A, Ph. II a.
TRANSACTIONS, DEPARTMENT OF ARCHAEOLOGY, U. OF P.
Lastly/ there is to be noted in the designs of this period an increase in
naturalism. The tendrils in Fig. 12 and the leaflike design in Fig. 13
resemble nature more closely than did any design in the Early Minoan III
Fig. 12, from .6. & A. 1902-3
IX, p. 303, Fig. 2.
period, although now, as then, naturalistic patterns are formed from recti-
linear and curvilinear motives.
MIDDLE MlNOAN II.
The pottery of the succeeding division of the middle period is well known.
It has long been termed "Kamares ware" after the local name of the cave on
Mt. Ida, where it was first founds It has attracted the attention of scholars
because of the quantity in which ithasappeared (see table opp.p. 50) and because
of the delicacy of its shapes, the richness of its color, and the harmony of its
designs. In contrast with the thick clay and sturdy shapes of the preceding
period we note here a clay as light and thin as that of a modern Haviland tea-
cup. The cups of this "eggshell ware" show a variety of graceful shapes,
which attests the high degree of technical skill to which the potter has attained
(see, e. g., J. R. &, 1903, XXIII, PI. V). The ornamentation consists in some
cases of relief work but more commonly of polychrome painted patterns applied
to a dark body paint. The chief colors are white, orange, crimson, red, and
yellow. Such perfection of technique implies a civilization far removed from
* A more illuminating example of complex non-imitative Middle Minoan I design is
shown in PI. I of -B. X A. 1904-1905, XI, which has been issued since this paper went to
press.
*8ee jPa?* *7Mssos, 1886, X, p. 339 ff. and Pom. ALP. IX, p. 100, Mr. Dawkins has
pointed out that this name cannot properly be used of both technique and period. See P.
S. A. 1903-4, X, p. 192.
Fig. 11, from P. & A. 1902-3,
IX, p. 305, Fig. 5.
Fig. 13, from 7Va?is%cPo?Ts I,
Part III, PI. XXV, A, Ph. II a.