22 UNIVERSITY MUSEUM—ANTHROPOLOGICAL PUBLICATIONS, VOL. VII

period this design has become still more stylized and debased
until it ends in two meaningless waving arms and the complete
disappearance of the body of the octopus. This jar, like so many
from the cemetery, appears to belong to a transitional stage
between the M. M. Ill and L. M. 1 periods.

While jars such as those shown in Plates IV, XIV and XXI
were still being made the dark on light technique was gradually
becoming more and more popular. This octopus jar belongs
to this dark on light class and, in point of time, is but slightly,
if at all, later than the black and white jars just mentioned.
On the other hand, judging by the paint and clay, it is more
closely akin to the L. M. I wares than it is to the light on dark
M. M. Ill vases. It, therefore, becomes a question whether we
shall divide these periods on the basis of technique or from a chron-
ological point of view. If we go by the former rule, vases like this
octopus jar and those of Plates VI, IX, X and XVIII might fall
into the L. M. I period, although chronologically they are of the
same date as those which we have assigned to the M. M. 111 age.

To my mind these dark on light vases share the char-
acteristics of both the M. M. Ill and L. M. I periods to such a
marked degree that I have not been willing to throw them
bodily into either period, but have contented myself by regard-
ing them as a transitional stage linking the M. M. Ill wares to
those of the L. M. I period.

On this part of the site at a very low level the E. M. Ill
pot of PI. XI, No. XI, c, came to light. Like many of the smaller
pots, it stood upright in the sand. The white design of cross-
hatched circles and lozenges filling the triangular spaces between
the narrow lines of white is very characteristic of the E. M. Ill
period. The upper half of the pot is covered with black paint,
the lower half is plain buff clay.