FIG. 155. IVY-WREATH (B.F. PERIOD).
The ivy-leaf was not adopted as a decorative pattern before the middle of the sixth century; it seems to be Ionic in origin.[[2034]] Single large leaves occur on the necks of B.F. lekythi, on late Ionic B.F. vases, and to a considerable extent on the imitations made in Etruria.[[2035]] These are usually treated in a very naturalistic manner. Double rows of smaller leaves, forming a straight wreath, constantly occur as borders to the panels on B.F. hydriae, kraters, and oinochoae (Fig. [155]); and similar ivy-wreaths are found along the flat edges of the flange-shaped handles on the larger panel-amphorae, as well as on the volute-handles of kraters.[[2036]] These patterns preserve their vogue in the R.F. amphorae of the earlier period, and in the kraters of Lucania, and it should be noted that they are always painted in the B.F. method (black leaves on red ground) except in the vases of Apulia and Paestum. But as a rule on the South Italian vases the ivy-leaf is treated in a naturalistic manner, with tendrils and berries, occupying a large panel on the necks of the column-handled kraters, or forming a border on the lip of the vase (Fig. [156]).[[2037]] The vine as an ornament is very rare, but there is a good instance on a late phiale in the British Museum (F 503), where it is treated in a very naturalistic manner, forming the sole decoration of the interior; it is also of frequent occurrence on the vases from the Kabeirion at Thebes (Vol. I. p. [391]). The pomegranate occurs only on the Cyrenaic cups (Fig. [93]), where it forms a continuous frieze of buds round the exterior, united by interlacing lines. The acanthus is only introduced quite late (except where it appears as an ornament on the top of a stele), and is found on the necks of kraters and other large Apulian vases, forming a rich and luxuriant mass of foliage, often with a flower in the centre, on which rests a female head. Myrtle or olive-wreaths occur at all times, especially on the flat rim of the mouth of a vase; the myrtle seems to be a typically Ionic motive, and is found at Daphnae, Samos, Rhodes, and on the Caeretan hydriae.[[2038]] In the Rhodian vases it is either roughly painted in black on red, or else in red and white on a black ground. It was also adopted at Athens—e.g. by Nikosthenes. Laurel-wreaths form the regular decoration of the neck in the bell-shaped kraters and wide-bellied amphorae of the late R.F. period and the decadence (Fig. [157]). These wreath-patterns on the late vases, it should be noted, are either treated in R.F. technique or painted in opaque white on the black varnish. They are often drawn with great care and accuracy.
FIG. 156. IVY-WREATH (SOUTH ITALIAN VASES).
FIG. 157. LAUREL-WREATH (SOUTH ITALIAN VASES).
The history of the development of the palmette (or honeysuckle), the lotos-flower and bud, and of continuous foliated patterns in general, has been skilfully treated by Riegl.[[2039]] To write a complete account of this class of ornamentation would be impossible within the limits of the present work; only a few main features can be noted, to show the form the patterns assume at different periods, so universal is their appearance on vases of all shapes and dates. The lotos-flower or bud is, of course, a motive of purely Oriental origin, which found its way into Greece probably through the medium of Phoenicia; the palmette, on the other hand, is purely Greek, although it may possibly be derived from a Mycenaean prototype, the Vallisneria spiralis plant, which is so frequently found on Mycenaean vases (Fig. [158]).[[2040]] They are found not only as single motives, isolated or repeated, but also combined together, or forming part of elaborate systems of floral ornament, with stems and tendrils often conventionalised, which link them together, either in continuous bands or in groups occupying a limited space, on the neck or under the handle.
FIG. 158. VALLISNERIA SPIRALIS (MYCENAEAN).