DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.3005#0021
R. B. SEAGER—THE CEMETERY OF PACHYAMMOS, CRETE. 21
spirals in dark paint around the shoulder and a ripple design on
the base. The cup which has white spirals on a dark ground
resembles those shown in PI. II, Nos. VI, a, and XIII, b. These
two objects, which show both the light on dark and dark on light
techniques existing side by side, date from the transitional stage
between the M. M. Ill and L. M. I periods and could equally
well belong to either of them.
XI. Near by stood the small jar of PI. VIII, No. XI, a.
It is a remarkably well preserved example of the M. M. Ill
period. The clay is very hard and fine grained which may
account for the excellent condition of the painted surface.
The decoration consists of two bands of dark paint edged with
white around the middle of the jar and these bands are further
ornamented by a design of running loops of white paint. There
are also dark bands around the rim and base with superadded
bands of white.
The fine jar of PI. XIII, No. XI, b, stood more or less by
itself and seemed to belong to no well defined group. This, also,
is very well preserved. The design suggests a further develop-
ment of the octopus motive shown on the fine M. M. II pot
found by Mr. Dawkins in the Kamares cave. (B. S. A., Vol.
XIX, p. 22, and PI. X.) Naturalism had made a great advance
in the intervening period and was gradually approaching the
stage when the L. M. I potters were able to produce such master-
pieces of maritime decoration as the octopus jar from Gournia.
(Gournia, PI. H.) The period when vases such as the one
from Gournia were produced does not seem to have been of
long duration and by the L. M. II period the octopus design is
degenerating. The octopus on the L. M. II vase from Isopata
(Isopata, PI. C) has reverted to a type more nearly akin to
that on the burial jar which we are describing. By the L. M. Ill
spirals in dark paint around the shoulder and a ripple design on
the base. The cup which has white spirals on a dark ground
resembles those shown in PI. II, Nos. VI, a, and XIII, b. These
two objects, which show both the light on dark and dark on light
techniques existing side by side, date from the transitional stage
between the M. M. Ill and L. M. I periods and could equally
well belong to either of them.
XI. Near by stood the small jar of PI. VIII, No. XI, a.
It is a remarkably well preserved example of the M. M. Ill
period. The clay is very hard and fine grained which may
account for the excellent condition of the painted surface.
The decoration consists of two bands of dark paint edged with
white around the middle of the jar and these bands are further
ornamented by a design of running loops of white paint. There
are also dark bands around the rim and base with superadded
bands of white.
The fine jar of PI. XIII, No. XI, b, stood more or less by
itself and seemed to belong to no well defined group. This, also,
is very well preserved. The design suggests a further develop-
ment of the octopus motive shown on the fine M. M. II pot
found by Mr. Dawkins in the Kamares cave. (B. S. A., Vol.
XIX, p. 22, and PI. X.) Naturalism had made a great advance
in the intervening period and was gradually approaching the
stage when the L. M. I potters were able to produce such master-
pieces of maritime decoration as the octopus jar from Gournia.
(Gournia, PI. H.) The period when vases such as the one
from Gournia were produced does not seem to have been of
long duration and by the L. M. II period the octopus design is
degenerating. The octopus on the L. M. II vase from Isopata
(Isopata, PI. C) has reverted to a type more nearly akin to
that on the burial jar which we are describing. By the L. M. Ill