In regard to technique the chief point is the extensive use of accessories, which give a bright and varied appearance to the vases. And we must also note the general use of white for flesh, of men as well as of women, the white being laid on the black varnish in the Attic fashion, and not on the clay, as usual in Ionia. The clay, too, is not covered with the characteristic creamy slip, but with a red glaze approaching more nearly to the “continental” fabrics. Incised lines are used with great care, and folds of drapery are always indicated; the male eye is always oval, and undistinguished from the female.
Two groups of fragments from sites in Asia Minor, though differing in some degree from the Caeretan hydriae, yet obviously stand in close relation. Of these, one set, forming a large krater of the Corinthian type, was found at Kyme in Aeolis[[1159]]; they appear to be later than the hydriae, i.e. about 500 B.C., but the style and technique are not dissimilar, except that the white is here laid on the clay ground and the drawing tends to freedom and carelessness.[[1160]] Folds of drapery are not indicated; the typical Ionic motive of a large bud in the field is found.[[1161]] They may be described as a local differentiation from the hydriae, representing the transition from the sarcophagi[[1162]] to B.F. fabrics, or rather, perhaps, forming a link between the Caeretan group and that next to be discussed. The other set was found at Clazomenae,[[1163]] and appears to stand midway between the Daphnae pottery and the hydriae; it is probably of local origin, and also exhibits points of comparison with the sarcophagi. The influence of this fabric has been traced in some Attic B.F. vases which represent a similar scene—the harnessing of a chariot.[[1164]]
There are also various groups of vases (mostly amphorae) of advanced B.F. technique, but thoroughly Ionian characteristics,[[1165]] which seem to trace their descent mainly from the Caeretan hydriae, although the scheme of ornamentation is widely different. In the majority the most striking feature is the adoption of the panel-design, the rest of the vase being covered with black. This is clearly non-Ionic, and probably due to the growing influence of Attic vase-painting, in which it early became a marked feature; but it is usually combined with a distinct neck, on which is a smaller design, and this, on the other hand, is a non-Attic idea. These vases were all most probably made in the Clazomenae region; they are, however, rather to be regarded as forming links between the Ionian fabrics proper and the Attic B.F. vases, and are the predecessors of a group of vases of fully-developed B.F. technique which are yet more Ionic than Attic in feeling and treatment (see below, p. 387).
Among these may be mentioned two groups of kylikes, one found in Rhodes and richly decorated with figures within and without, the form suggesting a metallic original.[[1166]] The other consists of a series of kylikes decorated on the outside with large eyes (formerly thought to be of symbolical import), at the head of which stands the well-known Würzburg cup, with the subject of Phineus attacked by the Harpies.[[1167]] This vase bears remains of inscriptions in the Ionic alphabet; the cup is of a form afterward introduced at Athens by Exekias, in which the off-set rim and high foot of the other group are replaced by a wide-spreading bowl of plain convex section, with a low foot. Once adopted at Athens, this type remained firmly in favour throughout the R.F. period.
It has often been remarked that inscribed vases are remarkably rare among Ionian fabrics; there are not more than six at the outside, including the Euphorbos pinax, the alphabet of which we have seen to be Argive.[[1168]] But there are two vases the alphabet of which apparently belongs to the island of Keos, being one of the Ionic or Eastern group, and of these one[[1169]] may well be associated with the later Ionic fabrics. The other, however, is in a style which is usually associated with the Chalcidian group[[1170]]; there is the typical feature of the fallen warrior with face turned to the front. If the two can both be assumed to have been actually made in Keos, the geographical position of that island would account for the combination of these Eastern and Western elements.[[1171]]
A complete and detailed list of the Caeretan hydriae and of the allied types may be found in Endt’s book (pp. 1, 21, 29, etc.); but a brief summary may also be found useful:—
1. Caeretan hydriae: B.M. B 59 (Plate [XXVI].); Louvre E 696–702; Vienna 217–18; Ant. Denkm. ii. 28 (in Berlin); Mus. Greg. ii. 16, 2a; Jahn, Entführung der Europa, pl. 5a; Endt, figs. 1–2, 5–8; four others unpublished. See also generally Dümmler in Röm. Mitth. 1888, p. 166 ff., and Pottier in Bull. de Corr. Hell. 1892, p. 253 ff., and Louvre Cat. ii. p. 534.
2. Later Ionic B.F. fabrics, chiefly amphorae, kraters, hydriae, and deinoi, from the region of the Gulf of Smyrna: Louvre E 736, E 737, E 739; Vienna 215; Munich 573, 583, 685; Berlin 1674, 1885, 2154; Würzburg, iii. 328 (= Reinach, ii. 97) and 331; Reinach, ii. 156; J.H.S. vi. pp. 181, 185, and Anzeiger, 1893, p. 83 (in Berlin); Louvre E 754–81; Berlin 1676 = Reinach, ii. 22, 3–5; and the fragments from Kyme and Clazomenae already discussed. See besides Endt, Pottier in Bull. de Corr. Hell. 1893, p. 423 ff.; Zahn in Ath. Mitth. 1898, p. 38 ff.; Karo in J.H.S. xix. p. 146 ff.
3. Kylikes of Attic-Ionic style: (a) Rhodian: B.M. B 379-B 382: see J.H.S. v. p. 220 ff.; (b) later type, with eyes (see p. [374]); Würzburg, iii. 354 = Furtwaengler and Reichhold, pl. 41 (Phineus cup) and 349; Berlin 1803, 2054, 2056; Munich 428, 468, 630, 553, 711, 1239, 1316, 1027, 1239; and others given by Böhlau; to which may be added the British Museum cups with eyes, B 427 ff., and the amphora B.M. B 215.
4. Keos fabric (?): Louvre E 732 = Reinach, i. 162; Gerhard, A.V. 205, 3–4.