In order to deal with the various ornaments and patterns in detail, it may be found convenient to divide them under three heads—rectilinear, curvilinear, and vegetable or floral. Of the first class the most consistently popular is the typically Greek pattern known as the maeander, key, or fret pattern. It first appears with the Geometrical style, in which it plays an important part, often covering a large proportion of the surface of a vase, arranged in broad friezes. Three varieties are found—a simple battlement pattern (Fig. 139), and the slightly more elaborate forms, Fig. 140, and the pattern given in Vol. I. p. 283, Fig. 83. In the Boeotian Geometrical, Phaleron, and Proto-Corinthian fabrics it is seldom found, or only in a debased form, as maeander but one or two forms occur in the “Rhodian” and “Samian” fabrics of Ionia; one of these is given in Fig. 141, and another consists of squares of the same alternating with crosses or stars in panels. We meet with a most interesting development of the latter variety in the vases of the so-called Pontic class and on the Clazomenae sarcophagi, where an elaborate maeander pattern, usually in two rows, is interspersed with stars or rosettes (Fig. 142). It thus becomes almost a distinguishing characteristic of the later Ionian fabrics.

In the Attic B.F. vases there is a return to simplicity. Here we find it for the most part in the form Fig. 140 above, and its usual position is below the designs on the red-bodied amphorae; but it is sometimes found on other vases, as above the panels on the bodies of hydriae or oinochoae. In the R.F. period its development is most important for determining the succession of the kylikes, on which it almost becomes a date-mark, so regular is its evolution. This has, however, been already dealt with in the chapter on the history of the style (Vol. I. p. 416). After the severe period it is of frequent appearance on all forms of vases, the kylix, amphora, krater, and pelike in particular; the usual arrangement is a group of three to five maeanders, either of the simple Fig. 140 type, or of a more complicated form (Fig. 143), divided by rectangular panels or squares composed of chequers, or of crosses (diagonal and vertical) with dots or strokes between the arms.^[2020] A curious variety of the maeander is used by Duris; it consists of a double intersecting maeander interspersed with squares^[2021] (Fig. 144).

The invariable place for this ornament is below the design on the large vases, and it is usually continued the whole way round (except on the earlier Nolan amphorae); it is also found on the R.F. and white lekythi along the top of the design. It is always painted in black on the clay ground.^[2022]

A similar form of maeander prevails on the vases of Southern Italy (except in Campania); it is found on the krater, amphora, lebes, kotyle, etc., and is almost invariable. But there is one unique variety which is occasionally found on the great Apulian kraters, as on F 278 in the British Museum; the type is that of the pattern in Fig. 144, but the maeander is represented in perspective, being painted in white on the black, the shaded edges left in the colour of the clay.

Of patterns akin to the maeander, the so-called swastika or hook-armed cross, 1621swastika occurs in panels on the Geometrical vases, but subsequently it is only found as a ground-ornament in the field, as frequently at Naukratis, in Rhodes, and elsewhere. It is, strictly speaking, to be regarded as a fragmentary piece of maeander, without any of the symbolical meaning which it bears in the art of northern nations, with whom it was the emblem of the Scandinavian god Thor. Another pattern, 1663maeander or 1690maeander which may be called a variety of the maeander, is frequently found as a continuous border on early vases, such as the Phaleron and Proto-Corinthian wares, and occasionally in the B.F. period.

Next there is the chevron, zigzag, or herring-bone pattern, consisting of systems of V-shaped patterns, arranged in two ways, either 2015chevron or 1664zigzag these patterns are practically only found on the earlier fabrics of Greece and Cyprus, or on the native wares of Apulia. On the incised vases of the early Bronze Age found at Hissarlik and in Cyprus this is the prevailing motive, the lines of zigzag being either single, or arranged in groups of four or five parallel:

On the Geometrical vases such patterns are of very frequent occurrence, and panels or bands of chevrons arranged vertically, 2015chevron or 2022zigzag occur in many instances (Fig. 83). These groups of chevrons or zigzags are also a distinguishing mark of the Boeotian Geometrical fabrics (cf. Fig. 85); they occur to a lesser extent on the Melian, Proto-Corinthian, and Early Corinthian vases, and even in the Chalcidian fabrics. They are either employed as ground-ornaments to fill in spaces, or as panels forming part of the subsidiary decoration. A variation, or rather development, of the chevron, sometimes employed as a ground-ornament on early Ionic vases, is composed of a cross, 2221cross with sets of chevrons between the arms.

Diagonally or directly intersecting lines form another universal element of early decoration, varying from a simple arrangement of cross lines 2254mesh to an elaborate diaper-pattern, and in such forms found even in later times. Beginning with the simple intersecting lines, or bands filled in with hatching, of the primitive incised vases, further developed in the white slip ware of Cyprus (Vol. I. p. 243), we next come to their use on the vases of the Geometrical period, both in Greece and in Cyprus. The variety of these patterns is so great that they can hardly be described in any detail; the usual method of treatment is in a band or panel of lozenges, squares, or triangles, filled in with a reticular pattern formed by the short intersecting lines. Sometimes dots are inserted in the spaces to enrich the general effect. Some very good examples of these patterns are to be seen in the Geometrical vases of Apulia (p. 327). In the B.F. period plain bands or panels of intersecting lines are not infrequent; sometimes small amphorae or lekythi are decorated entirely in this fashion.^[2023] A variation of the motive is the border of network which often surrounds the panels on hydriae or oinochoae, in which the points of intersection are ornamented with studs, resembling the knots of a net (Fig. 145). It is also frequently found on the later Corinthian vases. Chequer-patterns are often used with great effect, at all periods from the Geometrical vases down to the fourth century, their usual position being on the neck of a vase (Fig. 146).^[2024]

The circle as an ornament occurs comparatively rarely, but there are two exceptions. In the Geometrical vases we find a use both of concentric circles and of rows of single circles joined by straight lines forming tangents, a motive which is obviously derived from the Mycenaean spirals (Fig. 147). Secondly, in the Graeco-Phoenician pottery of Cyprus, especially in its later phases and in the smaller vases, such as the jugs and lekythi, the decoration is practically confined to systems of concentric circles, of a character quite peculiar to this fabric.^[2025] The chief feature of these systems is that the ordinary principles of vase-decoration are entirely ignored, and the circles, arranged in series of five or six, forming a band about three-quarters of an inch in width, are placed not only at right angles to the axis of the vase, but parallel to it. The illustrations in Plate XIII. and Fig. 75 (Vol. I. p. 251) will give a better idea of the arrangement than any description; it is clear that the circles were easily produced by applying a fine brush to the vase while turning on the wheel, first in its natural position and then on its side. Artistically, of course, the principle is a wrong one, and this is most glaringly conspicuous in the barrel-shaped lekythi, in which the axis of the vase is regarded as horizontal rather than vertical. Groups of small concentric circles are also arranged vertically or otherwise on the bodies and necks of vases.

The spiral, which forms such a conspicuous element in Mycenaean decorative art, appears again prominently in a class which, as we have seen (Vol. I. p. 302), owes much to that source—the Melian amphorae. Systems of spirals are arranged to fill the spaces at the sides of the design,^[2026] especially in combination with floral ornaments and reticulated lozenges; and the same feature may also be observed in the Proto-Attic vases. It occurs similarly, combined with a flower, on the Samian or Fikellura vases (Vol. I. p. 337). In later times the spiral passes from the sphere of inorganic to that of organic ornament, being combined in various ways with vegetable patterns, and merging in the tendril or volute. But it occasionally reverts to its old form, notably in the red-bodied amphorae of Exekias,^[2027] who, in place of the usual palmette-and-lotos ornament under the handles, contrives an elaborate system of large spirals to fill the space between the designs (Fig. 148). A variation of this is the figure-of-eight ornament, 1534figure-eight sometimes continuous, 1561continuous figure-eight which is found on vases of the Proto-Attic class, such as the Burgon lebes in the British Museum (Fig. 87).

The wave-pattern or kymation moulding, shown in Fig. 149, is one which constantly occurs in Greek architectural decoration, but on the vases at any rate seems to be found only at a late period. On the Campanian vases it is the regular border below the design; it is also found on those of Lucania and Apulia. The crescent is only found on early Ionic vases, including those which have been attributed to a Samian origin (Vol. I. p. 336 ff.), and some of the Daphnae and Naukratis fragments, which probably borrowed it from Samos; it is arranged in bands alternating in colour, black or purple and white. Another typically Ionic ornament is the scale-pattern, which occurs on many of the so-called Rhodian vases, and also on those from Daphnae (Fig. 150). In the former it is produced by means of incising on the black varnish, the alternate scales being often coloured purple; but in the latter it is painted in outline. Curiously enough, it also occurs in the incised form on an early group of Corinthian vases (Plate XIX. fig. 3). Like other patterns, it can be traced to a Mycenaean origin, being very common in that style. Subsequently it occurs but rarely, but is sometimes employed on the neck or shoulder of a vase.^[2028] It differs from most other patterns in that it does not lend itself to the panel or frieze, but covers a surface of indefinite extent. It is also known as the “imbricated” pattern, from its likeness to overlapping tiles (imbrices).

The guilloche or plait-band (Fig. 151) is characteristic of early fabrics, such as those of Naukratis and Samos, the Clazomenae sarcophagi (Plate XXVII.), and the small Proto-Corinthian lekythi, but is not often found in later times.^[2029] It is typically Ionic, and seems to be derived from Mycenae (cf. A 209 in B.M.). Lastly, there is the so-called tongue-pattern, which is exclusively used as an upper border to designs. On its first appearance in the Geometrical vases it is rectilinear in form, 1563tongue-pattern and formed of alternating bars; but from the beginning of the sixth century onwards it assumes a curvilinear form, all the tongues pointing downwards, broader, and close together, as in Fig. 152. In the Daphnae vases and the later Corinthian wares it is treated in polychrome fashion, black, purple, and white alternately. On the lip and shoulders of Caeretan hydriae it appears in an exaggerated form, painted red, with black edges, as on Plate XXVI. In the Attic B.F. vases it forms the invariable upper border of the designs, below the necks of the amphorae and hydriae, and is also used as a border to the interior designs of the kylikes; here, too, purple is often applied to the alternate tongues. Occasionally the rectilinear form reappears. In the R.F. period it changes its character again, and the tongues become short and semi-oval in form, with black centre and narrow outlined edge; in this form it is usually described as an egg-pattern (Fig. 153). It is found in the smaller hydriae, and in many other shapes above or below the designs; also round the lip of the vase. The same form and arrangement obtain in the South Italian vases, especially in Apulia and Lucania, except that a dot is often placed between each pair of tongues. In some cases it approximates closely to the egg-and-dart, as on F 179 in the British Museum. Both tongue and egg-patterns are often ranged round the base of the handles. The egg-and-tongue, with its variants, is a typically Ionic architectural pattern; hence its non-appearance in Attic vases before the fifth century. In later Roman pottery (Chap. XXIII.) it becomes very common. The variety known as the Lesbian kymation is found in a few late instances.^[2030]

Having surveyed the various types of inorganic patterns, whether rectilinear or curvilinear, we now come to the consideration of those which are not only derived from vegetable ornament, but still preserve, in greater or less degree, a naturalistic character. To begin with the simple leaf-ornament, which is of too conventional a type to associate with any particular plant, this occurs most frequently in the form of of a calyx, placed round the lower part of the body, immediately above the foot, so that the leaves radiate from the foot, pointing upwards.^[2031] This ornament begins at a very early period, and is found in most fabrics, continuing down to the latest stages. It is, however, specially associated with the B.F. period, in which it is invariable on the large vases with a more or less marked stem, the amphorae, hydriae, and kraters. On the smaller ones, however, it does not occur. In the “affected” B.F. amphorae (Vol. I. p. 388) the calyx is double, with two tiers of rays.^[2032]

An arrangement of four leaves saltire-wise in a panel sometimes occurs on the Geometrical vases, a remarkable instance of vegetable ornament in this style (cf. Vol. I. p. 282); an analogous pattern is also found on many early Corinthian aryballi (Vol. I. p. 314; B.M. A 1086 ff.), the leaves not being united at the base, and usually interspersed with reticulated or other motives.

Another form of leaf-pattern is of rare occurrence, and is found now and then on Attic vases; in this small leaves are joined together in a sort of ribbon or chain-pattern^[2033] (Fig. 154). The peculiarity of this ornament is that even in the B.F. period it is red-figured in technique, being left in the colour of the clay with a background of black.

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.

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.

In the Graeco-Phoenician pottery of Cyprus the lotos-flower often appears in a purely Egyptian form (Fig. 159, from C 165 in B.M.), but it is more often combined with and almost merged in some elaborate system of patterns too complicated to describe or define by any name.^[2041] But in Greek vase-paintings, in which it first makes its appearance in the seventh century, it is always more or less conventional. It is thus found on the Melian amphorae in combination with systems of spirals^[2042]; though on the shoulder of the example given by Riegl there occurs a band of lotos-flowers alternately upright and inverted, linked together by scrolls, where the form is almost that of Egyptian art, except that the cup of the flower is rounder, the petals shorter and blunter. It is obviously as yet in the transitional stage. Next we meet with it in the vases of Ionia, especially in those of the so-called Rhodian and earlier Naukratite styles, which have friezes of lotos-flowers alternating with closed buds or with palmettes, connected by tendrils (Fig. 160). A similar pattern, on an exceptionally large scale and treated in polychrome (white and purple), surrounds the lower portion of the body on several of the later Caeretan hydriae (cf. Plate XXVI.). But in most of the fabrics of the sixth century the bud seems to have been preferred to the open flower of the ornament.^[2043] Rows of lotos-buds linked by tendrils, upright or inverted, are found on the Cyrenaic cups, on the vases of the Chalcidian type, and on the later Ionic fabrics, such as the Rhodian kylikes in the British Museum (B 379–81). Sometimes, too, a single bud appears in the design itself, overhanging the scene or rising from the ground. On the so-called Pontic vases the buds are isolated, and placed alternately upright and pendent. In the Corinthian and early Attic fabrics the lotos-flower is found, combined in various ways with palmettes and tendrils, as a neck-ornament, or above a panel, or under the handles, and also as a centre in heraldic compositions (Fig. 161); but subsequently the buds resume their sway, and are found bordering the panels of black-bodied amphorae (as in Fig. 162), forming a lower border to the designs on the red-bodied, and also on the shoulder of lekythi. These motives linger on in the earlier R.F. amphorae and hydriae, and in the column-handled kraters; rows of buds of a degenerate elongated form, on the lip, neck, or shoulder, are continued well into the period of the South Italian fabrics.

(EARLY B.F.).

The palmette or honeysuckle ornament is not usually found as an independent ornament before the middle of the sixth century.^[2044] Its development in this direction really belongs to the R.F. period. But in combination it is found, as we have seen, in Corinthian and Attic B.F. vases, and also in Chalcidian. Before the Athenian unification of styles it usually appears linked with lotos-flowers in a sort of double chain, each pattern being alternately upright and reversed, as in Fig. 163; in this form it is usually found on the neck, or as an upper border to the design. This type of ornament is favoured in the Proto-Attic, Corinthian, and Corintho-Attic vases, and the earlier panel-amphorae; the palmette is here regarded as the foliage of the lotos-flower, which at first always predominates. Subsequently the palmette gains the upper hand, as on the necks of the red amphorae (see Fig. 165), and the lotos-flower is gradually ousted altogether. It, however, returns occasionally on R.F. hydriae and amphorae.^[2045] Another variety, which may be described as a metope-like treatment, compared with the frieze-like treatment above, consists of an interlacing arrangement filling the space of a square, with two palmettes and two lotos-flowers respectively opposed, or a symmetrical arrangement of palmettes and lotos-flowers, connected by tendrils, as in Fig. 164. This is found under the handle, or on the neck, or in the middle of a frieze of the Corinthian “heraldic” type.^[2046] On the red-bodied B.F. amphorae the universal neck-ornament is a band of large palmettes vertically opposed, linked by a continuous chain passing between them and separated by elongated lotos-flowers (Fig. 165); this is also found on the Panathenaic vases and the earlier R.F. amphorae. Towards the end of the sixth century, however, there is a tendency to drop these composite ornaments, and attention is devoted to the palmette alone. The method of its application to the kylikes as a handle-ornament, linked thereto by a scroll, has already been treated in detail (Vol. I. p. 413); it first appears on the Cyrenaic cups, and is usually employed by the “minor artists” of the B.F. period. The chief feature of the new advance is that the palmette is no longer a stiff upright design with straight unenclosed petals, the form to which it adheres down to the end of the sixth century; but now assumes a more flexible and graceful form, being encircled and linked to its fellows by means of slender scrolls or tendrils, which thus form a series of elliptical or oval forms capable of great variety of arrangement and position (Fig. 166). This framed palmette is first found in the Fikellura or Samian ware. It occurs in the form of a frieze, with linking scrolls, on the later B.F. hydriae.^[2047] The number of leaves or petals of which the palmette is composed is usually limited to seven. Another important and very effective improvement is achieved by placing opposed pairs of palmettes no longer vertically, but obliquely, forming an upper or lower border to the design (Fig. 167). These are frequently found on the krater and hydria, and appear constantly on the vases of Apulia and Lucania, especially on the lip. Great attention is paid to the effective grouping of the framed palmettes in the spaces under the handles, the object aimed at being more and more naturalism rather than symmetry.^[2048]

In the later R.F. period, on the other hand, there is a certain reaction in the direction of conventional ornament, combined with exaggeration and lack of refinement. The palmette under the handle returns to the old erect unframed type, and increases enormously in size, so that one or at most two vertically opposed suffice to fill the space. In this form it appears on the bell-shaped kraters and hydriae of Southern Italy, and especially those of Campania, surrounded by elaborate scrolls and tendrils. In the latter fabric the palmette, which has become almost gross and ugly, is usually flanked by two large convolvulus or other flowers rising from the ground, and drawn in profile (Fig. 168). In the Apulian and Lucanian vases there is no rule as to the number of the palmettes, and sometimes the effect is exceedingly rich and elaborate. Speaking generally, there is no ornament which prevails so universally and in such varied forms and systems on Greek vases, but to give an exhaustive account of all its uses would be far beyond the limits of this work.

There remains only to be discussed the rosette, which, in spite of its often purely formal character, may be reckoned as in its origin a floral motive, even if it is not obvious that it is derived from any particular plant. It may be said to have two distinct forms, the star and the disc,^[2049] the former consisting of an indefinite number of radiating arms or leaves, the latter of a simple disc surrounded by a row of dots. In both forms it is found at all periods, not so much as a formal pattern in bands or groups, but as a decorative adjunct to surfaces within or without the field of the design, especially as a ground ornament on Ionic, Corinthian, and other early fabrics, or as an embellishment of the draperies worn by the figures on the vases.

In the Mycenaean period it is found usually in the dotted disc form, as a ground ornament, but the star form is by no means rare.^[2050] In later Cypriote pottery the star-shaped rosette sometimes occurs in a band of ornament, left in the colour of the clay on a black background^[2051]; but the other type is more common in conjunction with the concentric circles. In Hellenic pottery the rosette at first appears exclusively as a ground-ornament, and this function it fulfils both in Corinthian and early Ionic pottery to a large extent, as well as in some of the smaller groups. In the Rhodian and Naucratite wares it assumes very varied forms (e.g. Fig. 169, from the Euphorbos pinax), intermingled with hook-armed crosses and bits of maeander; in the early Corinthian wares it takes the shape of an approximately circular flower of six petals, which covers every available vacant space over the area of the design^[2052]; these are often rendered with great carelessness, the artist’s only object being apparently to insert a patch of colour where it would fill in a space. Subsequently the rosettes become both more symmetrical and at the same time fewer in number, and by the beginning of the Attic B.F. style have altogether disappeared. Occasionally they are employed for a band of ornament on the lip, neck, or handles of a B.F. vase.^[2053] Lost sight of for a period of some two hundred years, the rosette springs again to life in the vases of Apulia, resuming its old functions as a ground-ornament, and also being employed in bands on the neck or elsewhere. It usually appears in the form of a star-shaped flower of six or eight petals, in red edged with white on the black ground (Fig. 170).

It may also be found convenient to treat the ornamentation of Greek vases from a different point of view, in order to give an outline of the decorative system adopted in each of the principal styles, and as considered appropriate to the various forms.

In the vases of the prehistoric period, from the primitive incised wares down to the end of the Mycenaean style, there is an entire absence of anything like rule or formalism. The principle observed in the very early classes, such as the Cypriote relief and white slip wares (Vol. I. p. 241 ff.), is the imitation of other substances, of metal or leather. The object of the artist was to cover the surface of the vase as far as possible with decorative designs; and if, as was generally the case, his artistic capacity restricted him to linear or simple vegetable patterns, the utmost he could achieve was to adapt these to the whole of the space at his disposal—i.e. the whole body of the vase. Mycenaean vases, however, are usually only decorated on the upper part, as far as the middle of the body, which was encircled with one or more plain bands of black. Thus there remained a sort of panel between the handles, of varying extent.

In the Geometrical period, however, a great change takes place, which from the artistic point of view is a reaction in the direction of formalism, but nevertheless forms the basis of the decorative systems of later times. Here we see for the first time a regular partition of the surface of the vase by means of bands and panels of ornaments, without indeed any restriction of particular patterns to any part of the vase, but yet a deliberate endeavour to establish a decorative system.^[2054] With the increase of animal and human subjects the ornament becomes more subsidiary, merely a framework to the design, but even in the succeeding Proto-Attic and Melian classes it plays a very important part. In the Melian vases the system is Geometrical, but the ornamentation is curvilinear and Mycenaean. The ground-ornaments, however, are derived from the former source as well (hook-cross and zigzags in conjunction with rosettes). In both these classes the space under the handles is selected for the display of a grouping of ornamental motives, such as spirals or palmettes, or the two combined in a series of heart-shaped motives or panel-compositions; similar patterns cover the neck and the lower part of the body. The ornamentation of Phaleron and Proto-Corinthian vases is an echo of the Geometrical system. The ground-ornaments are the hook-cross, rosettes of dots, and bits of maeander; the bands of pattern consist of zigzags, chequers, double rows of dots, and toothed patterns. The early Ionic vase-painters treat the subsidiary ornamentation as they do their principal subjects, adopting the frieze principle in most cases; the only exception is in the Rhodian pinakes, where it is usually confined to simple patterns round the rim, with a sort of fan-pattern in the exergue below the central design.^[2055] The ground-ornaments are really the chief feature of Rhodian ornamentation, as in Corinthian vases. The decoration of the Fikellura or Samian ware is very characteristic, and demands separate mention. The patterns are highly developed, and suggest a late date—as, for instance, the scroll, the ivy-leaf, and the framed palmette. In later Ionic vases the ornamentation is not very prominent, except in the Caeretan hydriae, in which the broad bands of palmette-and-lotos ornament, and the exaggerated tongue-pattern on the lip and shoulder, occupy a proportion of the surface unusual at this period. Besides the typical ground-ornaments (rosette and hook-crosses) of the earlier vases, the favourite Ionian patterns are the maeander, the guilloche, and wreaths of ivy and myrtle. At Corinth, as we have seen, for a long time ornament is confined to the ground-filling rosettes, with some simple motives, such as zigzag lines or tongue-pattern, on the mouth and shoulder, or bordering the design; even in the later examples, when the rosettes have disappeared, it is practically confined to the interlacing palmette-and-lotos pattern on the neck, above the design, or inserted in the subordinate friezes of animals.^[2056] The same principle applies in the Corintho-Attic and Chalcidian fabrics.^[2057]

In Athenian B.F. vases we at last find a stereotyped system of ornament for each kind of vase, from which there is little or no variation. Generally the system is as follows:—On the panel-amphorae, an interlaced palmette-and-lotos pattern or a row of inverted lotos-buds above the panel, and a calyx of leaves round the foot, those with flanged handles having also ornaments thereon, ivy-leaves or rosettes. On the red-bodied, a chain of double palmettes round the neck, tongue-pattern on the shoulder, a grouping of palmettes, tendrils, and lotos-flowers under the handle, and a row of three or four narrow bands of ornament below the design (lotos-buds upright or inverted, maeander, zigzags), terminating with the calyx round the foot. The Panathenaic amphorae have the same neck-ornament as the red-bodied, with tongues above the panel, and thick rays round the foot; the fourth-century examples have palmettes on the neck, with elongated tongue-pattern immediately below. On the hydriae, tongue-pattern above the shoulder-design, borders to the panels (maeander above, ivy or network down the sides, lotos-buds or framed palmettes below), and calyx round the foot. On the oinochoae, panel-borders like those of the hydriae, but on the olpae (Vol. I. p. 178) only two or three rows of chequer, maeander, etc., on the neck above; on the lekythi, lotos-buds, ivy-leaves, and palmettes on the shoulder, and a double row of dots above the design. The kylix-ornament is practically limited to the handle-palmettes of the “minor artist” class, and a circle of straight-edged rays, alternately black and outlined, round the stem on the later varieties (together with the large eyes).

In the R.F. period the same system of appropriate patterns for each form of vase is in the main adhered to, but with greater freedom; there is also a wide difference between the earlier amphorae and hydriae, which cling to the old panel-system with its ornamental borders, and the vases of the fine period, in which there is an absence of all restraint on the one hand, and a tendency to dispense with ornament almost entirely on the other (as in the Nolan amphorae). On the kylix, the ornament is throughout confined to the palmettes under the handles and the maeander encircling the interior design, which have been dealt with already (Vol. I. p. 413 ff.). The earlier amphorae and hydriae, as we have seen, have panels with borders as in the B.F. period, usually in the older technique; those of the fine style (including the wide-bellied amphorae) have a short noncontinuous border, such as egg-pattern or maeander, above and below the figures, with similar patterns on the lip and round the bases of the handles. The stamnos has egg-patterns round the lip and handles, tongue-pattern round the shoulder, and a system of palmettes between the designs. The red lekythi have egg-pattern or palmettes on the shoulder, and maeander-pattern (with crosses) above or below the design; the white have black rays on red ground or black and red palmettes on white on the shoulder, and maeander above the designs. The bell-krater and wide-bellied amphora of the late R.F. period, as also those of Southern Italy, have a band of oblique palmettes or a laurel-wreath round the top, maeander with crosses below the design, palmettes grouped under the handles, and egg-pattern round their bases. The column-handled krater, on the other hand, adheres throughout to the B.F. system of ornamentation, with ivy-wreaths and elongated lotos-buds on the rim, similar lotos-buds on the neck, panels bordered with tongue-pattern and debased ivy-wreaths, and the calyx round the foot. The wide-bellied lekythi have palmettes or egg-pattern above the design, and maeander below.

In the vases of Southern Italy there is, as a rule, no system observed in the ornamentation; in the large vases of Lucania and Apulia it is used with great profusion and variety, chiefly in bands on the neck. In the smaller Apulian vases and in those of Campania it is often confined to a wave-pattern below the designs; the Campanian hydriae usually have in addition a wreath of myrtle or laurel round the shoulder. Generally speaking, the large vases, such as the bell-krater, the hydria, and the wide-bellied amphora, continue the principles adopted in the R.F. period. The systems of palmette-patterns under the handles have already been discussed, and for other details the reader is also referred to what has already been said in discussing the individual patterns.