[27] Cf. e.g. No. 06.1021.114, in the Metropolitan Museum.
[28] Cf. e.g. Nos. G. R. 530, 06.1021.82, 06.1021.114, etc., in the Metropolitan Museum, and No. 379 (Salle G) as a conspicuous example in the Louvre.
[29] Cf. e.g. Nos. 07.286.47, 07.286.81, and C. R. 541 in the Metropolitan Museum.
[30] Cf. e.g. Reichhold in Furtwängler u. Reichhold, Griechische Vasenmalerei, I, p. 153.
[31] This is Mr. Binns’s explanation. He does not consider that the accidental piling together of glowing coals could account for the carefully designed effects in the Vasiliki ware; so that Mr. Seager’s ingenious theory (cf. Hawes, etc., Gournia, p. 50) would have to be given up.
[32] Cf. e.g. 11.212.7, 12.336.1, G. R. 54, G. R. 1229, 06.1021.120, 06.1021.191, 12.229.15, etc., in the Metropolitan Museum.
[33] This explanation is also that offered by Reichhold in Furtwängler u. Reichhold, Griechische Vasenmalerei, I, p. 153. It is to this same cause that I should be inclined to attribute Reichhold’s “Lagerringe,” round red spots or black spots surrounded by red rings (op. cit., p. 154). Supports such as he describes which came into direct contact with the glaze are inconceivable; the glaze would have stuck to them and serious injury resulted. Furthermore, Athenian vases must have been placed in the kiln standing on their feet, and for this purpose the under surfaces of the feet are left unglazed so as to prevent the glaze from sticking. If placed in the positions Reichhold suggests, the vases would have been apt to warp, and no potter would run such risks.
[34] Cf. Salvétat in Brongniart, Traité des arts céramiques, I, p. 550; and Tonks, Black Glaze on Greek Vases, American Journal of Archaeology, XII, second series, 1908, pp. 420 ff. Mr. Binns in a series of experiments has come to the same conclusion.
[35] Cf. American Journal of Archaeology, XII, second series, 1908, pp. 423 f.
[36] Mr. Binns’s experiments are as yet unpublished.