red and black stripes, those of Dionysos and the women show rendering of folds. That the himation rather emphasizes than conceals the outline of the back, is a true Ionic feature.
Beyond this stage, the ‘Phineus’ fabric cannot be traced. Generally the Cycladic pottery of this period is hard to get hold of. We do not know whether there were more factories on the islands, and some isolated but allied specimens with more fully Ionic alphabet cannot yet be localized. On the other hand, the ceramic history of the Greek East offers at least some fixed points, though the transition from the old style has not yet been cleared up. We were able to accompany the Rhodian-Naukratite and the ‘Fikellura’ styles to the very threshold of the black-figured, but here the thread seems to snap. Shallow bowls found in Egypt and South Russia with bud decoration and black-figured interior designs, which were imitated by the Attic Vurvá style, and amphorae with remains of the old ornamentation and big isolated animal-silhouettes in the field, perhaps represent the latest products of the Rhodian style. The ‘Fikellura’ style finds its continuation in a ware, which was certainly produced in Klazomenai, perhaps also in several places at the same time, and has come to light not only in the Ionian region and the colonies in Egypt and the Black Sea, but also in Italy. The Klazomenian style has in common with its predecessor not only a series of ornaments (tongues, rays, late Rhodian garlands, continuous tendrils, rows of crescents, friezes of leaves, ‘metope’ maeanders, buds in the field, scales over a surface), but continues the old shape of amphora and has the same preference for loose decoration: beside the vases adorned in bands, on which the animal friezes are driven out of the chief band, it is very fond of a field consisting of a reserved panel or running all round, and of the decoration of the neck by means of an ornament, an animal head or a human head. In the field it likes to put instead of the heraldic pair a single animal, a sphinx before a standing man or upright branch, an isolated palmette and lotus cross, which are in a measure constituent parts of heraldic compositions, and shows the same freedom, going even beyond that of the Phineus painter, when it makes isolated figures, dancers, running girls, or men wearing mantles, the central motive of its heraldic sphinxes or cocks, and when it puts a runner with bent knee between two lions that turn away from him (Fig. [75]). The palmette and lotus-cross and the animal types differ from Western types; the selection, too, is characteristic of the East. There is a special preference for the Siren: this bird-woman is used surprisingly often heraldically, and in rows to make a frieze. The female panther occurs as well as the male; the grazing deer is a Rhodian legacy. The ostriches show knowledge of Africa, the winged horses and boars connection with Asiatic art. The Klazomenian style is particularly strong in the new formation of fantastic beings, to which the near neighbourhood of the East gave the impulse. The seahorse and the Triton were invented somewhere in this area: to the ‘Fikellura’ man with the head of a hare Klazomenai adds a being with a tail and a lion’s head among human revellers, among dancing men and women appears suddenly the bearded monster with the horse’s tail, the Satyr (Fig. [75]).
The stock of types varies considerably from that of the West; this is particularly clear in the scenes with human figures. Beside the pictures of riders and battles, beside the few preserved legendary scenes, among which the most important are the battles of Amazons, who here in the East have become mounted Scythian women, the prominent place is taken by scenes of drinking and dancing in the
PLATE XXXIX.
[Fig. 75]. SATYR AND MAENAD: KLAZOMENIAN VASE FROM KYME.
[Fig. 76]. NECK-DESIGN OF AN IONIC AMPHORA.