In one of the extensive cemeteries of Kameiros, known as Fikellura, there were found quantities of a class of pottery which has since been generally known by that name, but is probably not a local fabric. It has also been found in large numbers in the island of Samos,[[1110]] where Rhodian vases are comparatively rare, and owing to this more recent evidence the ware has been regarded as probably of Samian origin. Several specimens were also found on another Ionian site, that of Daphnae in the Egyptian Delta, but are quite distinct from the local fabric of that place. The date of the tombs in Samos is the second half of the sixth century, and it is noteworthy that from the ornamentation of these vases all Oriental influence has disappeared. On the other hand, they seem to represent the last lingering vestiges of Mycenaean influence. The majority are in the form of amphorae, but other forms, such as jugs and lekythi, are known. The technique is that of the Orientalising vases, with the typical Ionian creamy-white slip; the black has a tendency to become brown, or even red, and purple accessories are employed. Incised lines do not appear, but details are marked by spaces left in the ground of the clay. The subjects are simple in character and arrangement, usually one or two animals (or sometimes human figures) on either side of the body, the spaces being filled in with palmettes, spirals, or other ornaments. The ornamentation is strikingly characteristic, especially the network patterns on the necks of the vases, the scale-patterns, and the bands of crescents which we also find in use in Lesbos and at Daphnae.[[1111]] They form altogether a clearly-distinguished group, but sometimes show signs of late date, if they are not actually to be regarded as archaistic. Examples are given in Fig. [91].
FIG. 91. VASES OF SAMIAN OR “FIKELLURA” STYLE (BRITISH MUSEUM).
The system of decoration is curiously reminiscent of the Mycenaean vases,[[1112]] as exemplified in the great prominence given to the ornament as the main decoration, the scrolls and palmettes recalling the seaweed and other vegetable patterns on the former. This prominence of ornament is always an Ionian characteristic, retained as late as the Caeretan hydriae (p. [354]), with their bold bands of palmettes and lotos-flowers round the very centre of the body. The scale-patterns, another Mycenaean legacy, we shall meet with again at Daphnae, where similarly they cover the most prominent part of the vases. The most representative series of Fikellura vases is that in the British Museum, from Rhodes, Naukratis, and Daphnae; there are also some in the Louvre (A 321–34).[[1113]]
Dr. Böhlau, in his treatise on Ionian pottery,[[1114]] discusses as a class certain vases which, in accordance with his theory, he terms “Later Milesian.” At all events, they demand attention from the remarkable way in which they combine Ionian and Corinthian characteristics, sometimes, as we have seen, on the same vase. They have been found in Rhodes, Naukratis, and Italy, but the place of their manufacture is variously assigned to Corinth, Naukratis, and Miletos.[[1115]] An oinochoe found in Rhodes, with the incised lines in one animal-frieze and the details left in the colour of the clay or shown in black outline in the other, seems to incline to an Asiatic origin, at least as regards its shape[[1116]]; on the other hand, the fine krater in the Louvre[[1117]] is of a form more usually associated with Corinth. The upper half of the latter is Corinthian in style, the lower Rhodian, and thus there is not much to choose. But on the evidence adduced by Dr. Böhlau[[1118]] it would seem to be more probably of Ionian fabric. It may be that further evidence will enable us to assign these vases of mixed style to Naukratis, always a meeting-place of styles or fabrics; but it has not as yet been definitely ascertained to what extent the earlier fabrics of that place are local in origin. Meanwhile, the group is one that fully deserves separate consideration. Dr. Böhlau points out that it is characterised by the half-palmettes at the handles of the vases, by the Mycenaean-like spirals, and the inferior careless ground-ornaments, and generally by its deviations from the normal Rhodian types.
The black ware with patterns in purple and white and incised lines which has been mentioned as found in Rhodes is regarded by Böhlau[[1119]] as Aeolic. It is, as we shall see, paralleled at Naukratis by wares which there is good reason for regarding as of Lesbian origin. The typical form of decoration, the fan-shaped palmette, also occurs at Daphnae. In any case there is clearly an attempt at the imitation of metal vases, the polychrome colouring being intended to reproduce the effect of bronze inlaid with gold and silver. But before it can be established as an Aeolic fabric more results must be obtained by excavation in that part of Asia Minor.
In various places on the mainland of Asia Minor (see p. [62]) vases of early fabric have been found, about which at present little is known, except that they usually show some points of comparison with the recognised Ionian fabrics, and may therefore be regarded as of local manufacture, or at least from some place on the coast of Asia. An attempt has indeed been made by Böhlau to recognise in these also an Aeolic fabric, centring in the neighbourhood of Kyme and Myrina. An example is to be seen in the remarkable vase found at Myrina,[[1120]] with the bust of a man painted in outline, which resembles in shape the Fikellura vases, and is probably intermediate between the Rhodian and this fabric. Similar pottery finds have been made at Larisa, at Pitane, and in the Troad. At Larisa and Myrina Böhlau notes vases of the earlier Rhodian style, and at Larisa others which show a distinct independent derivation from Mycenaean pottery, especially in the ground-ornaments. On the site of Troy Dr. Dörpfeld found fragments of pottery of a Rhodian type with ornaments of pear-shaped leaves, such as occur on late sixth- century bowls from Kameiros[[1121]]; also a vase with a female head resembling that from Myrina, and another of Naucratite character. There appears to have been a local fabric in the sixth century—or perhaps even later—of flat bowls with bracket-handles, on which are painted figures of birds, etc., in coarse black pigment without any incised lines or accessories; a series of these is in the British Museum, and others were found by Dr. Dörpfeld (see above, pp. [61], [259]).
In Caria the Ionian style is represented by finds at Stratonikeia and Mylasa,[[1122]] with ornamentation of Mycenaean character, which appears to have reached a similar stage of development to the earlier Graeco-Phoenician vases from Cyprus; many analogies may be noted. That the Mycenaean influence was strong in Caria is also shown by the pottery of transitional character found by Mr. Paton at Hissarlik.[[1123]]
At Temir-Gora (Phanagoria) in the Crimea a vase was found in 1870 with paintings in brown on buff ground, representing a hare-hunt, panthers, and other animals.[[1124]] The style has evident affinities to that of the “Rhodian” vases, and Phanagoria being a Milesian colony, this is only natural. But it seems to be a local product, not an importation; the panther, for instance, is unknown on Rhodian vases proper.