[Fig. 58]. LATE RHODIAN CAULDRON (LEBES).
exceptionally fills the whole circular space (Fig. [59]). Both plates show early beginnings of incised work, the Gorgon in the inner marking of the drapery, Hector’s shield in the drawing of the flying bird. The view that the incised technique in figures is borrowed from Protocorinthian work receives support in this shield with its Argive suggestion, and in the Argive lettering, with which the excellent artist, roughly contemporaneous with the Chigi jug (Figs. [35] and [36]), has transformed a conventional composition into a scene described in the 17th Book of the Iliad. The full silhouette with inner detail incised appears only in specimens, which from their degenerate filling ornaments are plainly late products of the 7th century, e.g. a plate with a running Perseus. That when this happens the eye retains its oval shape, is characteristic of the Eastern Ionic school.
This transition to the black-figured style can be better followed in a closely allied pottery, fixed by the contemporary inscriptions of dedicators to the Milesian colony of Naukratis in the Delta. While the old filling motives are coming to an end, and the vegetable stripe ornamentation is being increased by the addition of continuous tendrils and confronted lotus and palmette, and rows of circumscribed palmettes, of bands of buds and rows of pomegranates, the animal frieze adopts the incised full silhouette. The human representations, often of a high order of excellence, gradually asserting themselves beside the animal decoration, show a reluctance in taking this step. The old brush technique is still maintained in the specimens, which reserve thin lines in the silhouette instead of incising them (Fig. [60]); and also the brown tinting of the male body (Fig. [61]) seems to continue in this area longer than elsewhere. These conservative features are balanced by an innovation in colouring, which like the change in plant ornamentation denotes an important step to the style of the 6th century; even before the actual decay of filling ornamentation, Naukratite painting (as in the Praisos plate, Fig. 29) begins to paint in white the light flesh of women, e.g. the face of the sphinx; and the same colour is used in the Herakles sherd (Fig. [61]), on which the lion’s skin still appears in the ground of the clay, in order to contrast with the linen jerkin.
The delight in polychrome effect is very strongly expressed on the interiors of the tall drinking cups and other vases, which the Naukratite painter likes to cover with a wash of black, and then to paint over it plant decoration in red and white. Incision enters also into their polychrome lotus decoration and thus gives it an effect similar to that of an older class of kylikes, big-bellied and necked amphorae, found in Rhodes, which is decorated in the old style with incised ornaments of red colour, and at a time when the Rhodian style was still practising pure brush technique, was already preparing for the later phase, a conclusion which must also be drawn from the Paris cauldron for animal representation. This black-ground polychromy, which occurs only occasionally on Rhodian jugs in white and red stripes, white rosettes and eyes (Fig. [55]), becomes so popular and elaborate at Naukratis, that one is almost tempted to think of a continuation of Protocorinthian influence, since Naukratis was in close connection with Protocorinthian Aegina.
Beside Naukratis itself Aegina was also the chief place of export for this gaily coloured pottery, which unfortunately has only reached us in precious fragments, and of whose scenes of merry life drawn from legend, the revel and the dance we should gladly know more. With the Rhodian ware it also reaches Italy and Sicily; the Acropolis of Athens gives us, e.g. the fine Herakles sherd (Fig. [61]), and Boeotia in a grave of the early 6th century a late cup with heraldic cocks.
PLATE XXX.
[Fig. 59]. GORGON PLATE FROM RHODES.