Stone Age Potter’s Handwork
It is true that in the fully developed neolithic Stone Age of Europe the clay pottery is also all made by hand, without the potter’s wheel, the oldest and rudest forms still occurring everywhere, as we have said; but besides these a great variety is exhibited in the size, form, and mode of production of the pottery. The clay is often finer, and even quite finely worked and smoothed, and the vessels have thin sides and are burnt right through. The thick fragments are generally only burnt outside, frequently only on one side, and so much that the clay has acquired a bright red colour, whereas the inside, although hard, has remained only a greyish black. We have numerous perfectly preserved vessels of the later Neolithic Age. They are frequently distinguished by an artistic finish and beauty of form, and on their surfaces we find ornaments incised or imprinted, but rarely moulded on them, which, although the style is only geometrical, cannot be denied a keen sense of beauty and symmetry. The clay vessels also show the beginning of coloured decoration. The incised strokes, dots, etc., are often filled out with white substance (chalk or plaster), which brings the patterns out into bold ornamental relief from the black or red ground of the surface.
After that it is no wonder that pottery advanced to the real coloured painting of the vessels during the Neolithic Period, at least in some places.
Growth of Artistic Taste
On these vessels the handle now appears, in its simplest form as a wart-like or flatter projection from the side of the vessel, pierced either vertically or horizontally with a narrow opening just large enough to admit of a cord being passed through. Other handles, just like those in use at the present day, are bowed out broad, wide, and high for holding with the hand. These generally begin quite at the top, at the rim of the vessel, and are continued from there down to its belly, whereas the first-mentioned are placed lower, frequently around the greatest circumference of the vessel.
There is no doubt whatever that in the main these clay vessels were made on the spot where we find their remains at the present day. This easily explains the local peculiarity that we recognise in various finds, by which certain groups may be defined as more or less connected with one another. Different styles may be clearly distinguished by place and group. But, this notwithstanding, wherever we meet with neolithic ceramics, they cannot conceal their homogeneous character. In spite of all peculiarities this general uniform style of the ceramics of the Stone Age, which we can easily distinguish and determine even under its various disguises, goes over the whole of Europe.
The Proofs of Man’s Mental Development
In finds that lie nearer to the old Asiatic centres of civilisation and to the coasts of the Mediterranean—as, for instance, at Butmir—the vessels are in part better worked, and the ornaments are richer and more elegant, and the spirals more frequent and more regular, and are sometimes moulded on, and sometimes, as we have mentioned, even painted in colour. But the general character remains unmistakably Neolithic, and may be found not only on the European coasts of the Mediterranean and the islands of the Ægean Sea, but in certain respects also in Mesopotamia and Egypt. The oldest Trojan pottery also exhibits unmistakable points of agreement with it.
Not only the stone weapons and implements, but, as far as we can see, even the remains of the oldest ceramics, show that uniform development of the culture of the Neolithic Period which proves a like course of mental development in mankind.