§ 1. The Geometrical Period
BIBLIOGRAPHY
Perrot, Hist. de l’Art, vii. p. 154 ff.; Ann. dell’ Inst. 1872, p. 138 ff.; Jahrbuch, 1886, p. 94 ff.; 1899, pp. 26, 78, 188; Ath. Mitth. 1881, p. 106; 1892, p. 285; 1893, p. 73 ff.; 1896, p. 385 ff.; Pottier, Louvre Cat. i. p. 212 ff. For Boeotian Geometrical pottery, Böhlau in Jahrbuch, 1888, p. 325 ff.; for early Argive wares, Waldstein, Argive Heraeum, i. p. 49 ff.
The Dorian invasion of Greece, which is generally supposed to have taken place in the twelfth century—the traditional date is about 1100 B.C.—was, like the contemporaneous Etruscan immigration (Chapter [XVIII].), only an episode in the general displacement taking place throughout Europe. In Greece it caused a dispersion of the Achaean race, chiefly in the direction of Asia Minor, which, as we have already seen, probably gave rise to the stories of the Trojan War and subsequent adventures of the Achaean leaders. In other words, the Mycenaean civilisation was driven to seek a new home elsewhere, and to lay the foundations of a new artistic development in the cities of Aeolis and Ionia. But its disappearance from Greece was not complete, and Hellenic Greece was from the beginning an amalgam of the old and new elements, the Achaean (or Ionian) and the Dorian, in which one or the other had at different times or in different places the pre-eminence. The Ionian element represents the civilisation of the Mediterranean, succeeding to that of the Mycenaean world; the Dorian, the influence of Central Europe.[[930]]
It has hitherto been a truism of archaeology that the Dorians brought with them from Central Europe a new form of art, of which the chief characteristic is that of rectilinear and geometrical decoration, forming, it is obvious, a marked contrast to the curvilinear and naturalistic Mycenaean designs. This new principle was thought to be most conspicuously illustrated by the pottery which now replaces the Mycenaean. But certain recent discoveries have given occasion for some scepticism in regard to the acceptance of this idea as conveying the whole truth; and even if they do not radically alter preconceived ideas, they are at least worthy of consideration.
At Aphidna in Attica a find has been made of very rude pottery, without glaze or varnish, but with decoration of a Geometrical character, sometimes painted.[[931]] Although earlier than any other pottery in Attica, it need not be pre-Mycenaean in date; it seems more likely to be a contemporary survival. Early wares have also been found in the islands, as in Aegina, with Geometrical ornament in matt-colour; nor must we forget that the Geometrical principle was known in Cyprus and the Cyclades, as also at Hissarlik, at a very remote age. From these data Dr. Wide has ingeniously drawn the conclusion that the Geometrical style was always indigenous in Greece,[[932]] pointing out that it was more likely and more in accordance with historical precedent that the Dorians, like Rome in later days, accepted the art of the people they conquered[[933]] than that they introduced their own and forced it upon the subjugated race. This theory has the additional merit of disposing of a difficulty which had always been felt. If the Geometrical pottery was Dorian, how do we account for its reaching its height in Attica, which was never at any time Doric, or influenced by Doric characteristics? But if it can be shown to be indigenous in Attica, the difficulty disappears.
Again, it is necessary to explain the varying character of Geometrical pottery in different parts of Greece, as compared with the homogeneity of the Mycenaean wares. If, as was supposed, the Geometrical style came full-grown into Greece, why should this be? Dr. Wide therefore maintains that there were in Greece concurrently a Bauernstil or domestic art, aboriginal and industrial, which produced the rude geometrical fabrics, and a Herrenstil or art de luxe, exotic and ornamental, which we know as Mycenaean. With the upheaval and dispersion of the Achaean aristocracy this art practically died out, but the humbler industry held its ground, and gradually forged its way to comparative excellence, perhaps learning much from Mycenaean technique.
The real novelty of the developed Geometrical pottery which now manifests itself in Greece consists in its evolution as a style, and the combination of the patterns into an artistic system, with a continuous progress towards symmetry and rhythm. Geometrical patterns are indeed the property of all primitive peoples, and are no less spontaneous and universal in their origin than the folk-lore stories which we find adopting the same or similar forms in all parts of the world. In Greece, no doubt, the cultured traditions of Mycenaean art had in course of time their due effect, and both in technique and in ornament left their impress on the inferior fabrics,[[934]] as we have seen to have been the case, especially in the Greek islands. It is an influence which is not confined to the pottery, but made itself felt, for instance, in architecture. It can hardly be doubted that in the Lion Gate of Mycenae we find the prototype of the Doric column; and the parallel with the Geometrical pottery can be further followed up when we consider that Doric architecture also became the common property of Continental Greece, and also realised its highest perfection at Athens.
The Geometrical pottery has been found in great numbers in Attica and Boeotia, in the islands of Aegina, Melos, Thera, Rhodes, and Crete,[[935]] in Argolis and Laconia, in Sicily and Etruria, and also isolated specimens in Cyprus and the Troad.[[936]] That found in Italy and Cyprus is certainly exported from the mainland. It has been observed that each region has its own peculiar variety of the style, and this is especially conspicuous in the examples from Attica and Boeotia.[[937]] The first writer who attempted to deal with it scientifically was Conze,[[938]] but owing to its clearly-defined characteristics it has always been more or less correctly treated by the older schools of archaeologists. But with a more extended outlook over the fabrics of early Hellas, many problems have arisen in connection with it which have called for more recent discussion, and the writings of Kroker, Böhlau, and Wide in particular should be studied.[[939]]
At Mycenae fragments of Geometrical pottery were found both on the surface and in the palace, among the débris of the huts built on its site; while in the island of Salamis there is a cemetery of distinctly transitional character, containing false amphorae with linear decoration and combinations of the spiral with the maeander.[[940]] It may be noted that a similar transitional cemetery was found by Mr. Paton at Assarlik in Caria,[[941]] and that the “sub-Mycenaean” pottery of Cyprus (p. [246]) has been shown to exhibit the same combination of features. These facts fall into line with what has already been said as to the survival of Mycenaean art in these fabrics.