It will perhaps be convenient to take the groups of Daphnae fragments one by one, noting the general characteristics and individual peculiarities of each. First we have a group of tall cylindrical vases[[1143]] (one or two of which are completely preserved), of an obviously Egyptian form, which has been called a situla or pail (Fig. [95]). The clay is of a drab colour, brittle, and badly levigated, and covered with a dark brown varnish laid on a coating of glaze. Owing to chemical causes this varnish has in almost all cases disappeared, carrying with it most of the designs, which can only be distinguished by the incised lines. The figure subjects are confined to panels on either side of the neck, and usually consist of heraldic groups of animals or winged monsters. Round the body are patterns of lotos-flowers and fan-shaped half-rosettes of Rhodian type. The technique, however, and other points recall the Geometrical vases, and this is especially marked in one case (B.M. B 104 = Fig. [95]), where the panels are bordered and filled in with ornamental patterns of Geometrical style.[[1144]] The whole appearance of this vase, in which the varnish is preserved, is that of the Geometrical style; the method may have been learned through Rhodes. On the other hand, some subjects are of Egyptian type, such as the hawks (B 1062), and the pair of combatants with their nude bodies and shaven crowns (B 1061).
Secondly, there is a group of tall slim amphorae, of purely Greek style,[[1145]] with a characteristic scheme of decoration, consisting of panels on the neck, usually containing a Sphinx or Siren, and two friezes round the body, divided by a band of dots; the neck is always divided from the body by a moulded ring, below which is a polychrome tongue-pattern in black, white, and purple alternately. An example is given in Plate [XXV]. It is important to note here that the white colouring, of which lavish use is made, is laid directly on the clay, as in other Ionic vases; incised lines are only employed for inner details, not for contours. This group is obviously of later date than the situlae, and the points of correspondence between it and the Caeretan hydriae and sarcophagi of Clazomenae (see below) are very marked. Sometimes the place of the main design is taken by a panel of scale-pattern,[[1146]] rendered in colour only, curiously reminiscent of Mycenaean vases. Two other points are worth citing here as presenting the same feature: the two-handled cup with tall stem on B 1152, which is clearly the Mycenaean type of kylix, and the borders of white dots laid on the black which sometimes occur on the draperies. The clay is of a warm yellow colour, well levigated and polished, and the general appearance of the vases is bright and pleasing. The lower frieze on the body usually takes the form of a row of animals, especially of geese feeding; but where the main design is replaced by a scale-pattern, dancing figures are usually found.
Thirdly, there is a squat form of amphora, with cylindrical neck and wide body, which has been distinguished by the name of stamnos.[[1147]] Most of the vases of this form found at Daphnae are of the “Fikellura” type described above (p. [337]), and are obviously importations, whether from Samos or Rhodes; but others (nearly all fragmentary) are of the same type as the amphorae. On both shapes a motive is sometimes introduced which is clearly learned from the Fikellura vases, that of a row of crescents, which, instead of being merely painted in black, are treated, like the tongue-pattern, in polychrome.[[1148]] The only other shape found is the hydria, of a type differing greatly from the Caeretan (see below) with its flat shoulder at right angles to the body; but the same typical wreath of pointed leaves occurs on both (cf. B 126–27). The list is completed by a few fragments of imported B.F. vases from Athens.
PLATE XXV
Ionian Vases.
1. Situla from Daphnae (British Museum); 2. Deinos in South Kensington Museum.
The subjects comprise several interesting mythological themes: Odysseus and Kirke,[[1149]] the Calydonian boar-hunt, Boreas and one of his sons, Bellerophon and the Chimaera. There is a curious series of nude figures on horseback, painted white throughout, accompanied by warriors and dogs; they have usually been interpreted as feminine, but are not so necessarily, as Ionian painters used white indiscriminately for either sex.[[1150]] Dionysiac scenes are popular, but monotonous, and often very coarse; the Satyrs are of the Ionic type, with horses’ hoofs, and very bestial in appearance; their place is often taken by grotesque dancers, as on the Corinthian vases. Among small details the Oriental embroidered saddle-cloths[[1151]] should be mentioned, as also the curious hook (φάλος) in front of the warrior’s helmet on B 11; both are found on the Clazomenae sarcophagi, and the latter is typical of Ionic art.[[1152]]