, which Mayer calls the “hour-glass“ ornament. The more developed examples have figures in panels, ranging from rows of ducks to human figures. Among these are a man gathering fruit from a tree and two stags confronted. Lenormant published two very interesting specimens in the Louvre, one of which has two cocks confronted, the other a man swimming accompanied by a dolphin.[[2385]]
The latter, with others of the same class, styled by Lenormant “Iapygian,” appear to be imitations of B.F. amphorae[[2386]]; but if they are imitations they must be almost contemporaneous with their prototypes, and cannot be later than the fifth century. The man with the dolphin recalls the story of Taras and the coin-types of Tarentum; but Lenormant pointed out that a similar legend was current relating to Iapys, the eponymous hero of Iapygia,[[2387]] and he may therefore be intended. Some of these vases have painted inscriptions, one of which runs,
; but they are apparently nothing more than names, partly Hellenised.
Among other shapes are a kind of askos with simple decoration, a jug or pitcher with discs attached to the handles, also with simple patterns, and a unique variety of the krater with four flat-topped column-handles. Signor Patroni[[2388]] calls attention to another class of Messapian vases from which the geometrical decorative element is absent, the ornament being arranged in bands of equal width, and varying between linear and natural forms. A characteristic motive is a sort of chain-pattern. The wave and rows of pomegranate-buds also occur, and animals, such as dogs and dolphins; also human heads and figures. The shapes are either the double-necked askos, as given in Fig. [185], with an arched handle between the mouths, or a kind of double situla, formed of two jars on a cylindrical stand with a vertical handle between.
As Mayer has pointed out, there cannot here be any question of a very ancient class of vases, but rather of one of eclectic character. The Geometrical tendency appears chiefly in the north of the district, where the influence of Peucetia (see below) was felt. The vegetable ornaments, he suggests, have affinities with those of “Rhodian” vases.[[2389]] The date can hardly be earlier than the fifth century.
From Notizie degli Scavi.
FIG. 186. KRATER OF “PEUCETIAN” FABRIC WITH GEOMETRICAL DECORATION.
The fabrics of Central or Peucetian Apulia centre, as has been noted, round Bari. They are all of a strongly Geometrical type, but the system of ornamentation is freer and more varied than in the Messapian class. They are easily recognisable by their forms and characteristic designs, painted only in brown or black. Here, again, the typical form is a krater, in which the handles are either arched in vertical fashion or else form flat bands. It has a shallow, spreading lip. The patterns are arranged in panels and bands, and are often executed with great care. Fig. [186] gives an example from Sala Consilina in Lucania.[[2390]] The favourite motives are chequers, zigzags, the “hour-glass,” hook-armed crosses, and lozenges filled with reticulated pattern, neatly arranged in friezes or saltire-wise. Round the lower part of the vase is often found what may be described as a comb-pattern, and on some vases is a curious rudimentary form of the maeander, arranged in triangles or diagonal crosses. Among the other shapes are a small askos with ring-handle on the back, a sort of high stand like a fruit-dish, large cups and bowls, and the orcio already mentioned. One of the finest examples is a krater from Ruvo in the Jatta collection,[[2391]] with twisted handles and a very elaborate system of ornamentation, chiefly diaper and maeander patterns.
Like the Messapian, the Peucetian or Apulian pottery seems to have flourished during the fifth century[[2392]]; but there are some vases which seem to form connecting-links with their Hellenic prototypes, and probably belong to the sixth century.[[2393]] In any case, both fabrics must be regarded as much earlier than previously supposed; they are certainly not late archaistic work, and time must be allowed for their disappearance when the Hellenic fabrics of Apulia begin. In placing the majority of the products between 600 and 450 B.C., we shall probably not be far from the truth, although M. Pottier[[2394]] would throw the origin of the fabrics as far back as the eighth century.