The Neolithic Pottery Sequence in Southern Greece 9781841716176, 9781407326764

Table of contents :
Front Cover
Title Page
Copyright
Table of Contents
Author's Note
Dedication
Acknowledgements
Introduction
NOMENCLATURE
HISTORICAL SYNOPSIS
SITES AND EVIDENCE
DETAILED LIST OF CONTENTS
CATALOGUE OF WARES AND TYPES
APPENDIX A
APPENDIX B
NOTES
BIBLIOGRAPHY
CHRONOLOGICAL CHARTS
CATALOGUE OF ILLUSTRATIONS
MAPS
FIGURES
PHOTOGRAPHS

Citation preview

BAR S1259 2004 PHELPS: THE NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

B A R

The Neolithic Pottery Sequence in Southern Greece Bill Phelps

BAR International Series 1259 2004

The Neolithic Pottery Sequence in Southern Greece William W. Phelps

BAR International Series 1259 2004

ISBN 9781841716176 paperback ISBN 9781407326764 e-format DOI https://doi.org/10.30861/9781841716176 A catalogue record for this book is available from the British Library

BAR

PUBLISHING

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

CONTENTS

AUTHOR’S NOTE

Author’s Note

1

Acknowledgements

4

Introduction

5

Nomenclature

6

Historical Synopsis

8

Sites and Evidence

12

Detailed List of Contents

25

Catalogue of Wares and Shapes: Methodology

27

Origins and Conclusions

124

Appendix A: Early Helladic I Appendix B: Some Relevant Websites

126 127

Notes

128

Bibliography

130

Chronological Charts Catalogue of Illustrations Distribution Maps Drawings Photographs

143 149 170 175 240

This book is based on a PhD thesis submitted to the University of London in 1975, but which could not be published at the time as it contained unpublished material for which permission was not granted. In the intervening years new excavations have added considerably to our knowledge of open and cave sites in the Peloponnese and elsewhere; they will be mentioned in the text and bibliography, but want of time and means has made it impossible to adequately incorporate them into the framework of the original thesis. The publication after such a long interval of this conspectus of Peloponnesian Neolithic pottery calls for some explanation. I was initially reluctant to undertake it, but was persuaded to do so by a number of archaeologists who have found it useful, and by the fact that it has been and still is in demand by students and excavators interested in this subject. The addition of much new material will undoubtedly have made it possible to modify and refine the scheme and conclusions presented here, but hopefully the illustrations and descriptions will preserve some value after the subjective interpretation and theorising have lost theirs. To assist in correlating page references to the 1975 Thesis with the pages in this book, I have included a partial cross index in the list of Detailed Contents on page 25.

1

To Anita, without whom this could never have happened.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

ACKNOWLEDGEMENTS None of the study involved in the preparation of this book would have been possible without the co-operation and assistance of the Greek Archaeological Service, from past Directors and Inspector Generals down to Museum Custodians. The individual Museum Directors and Curators who put the material in their charge at my disposal, sometimes at the cost of considerable trouble, are too many to be listed here, but they will recognise throughout this work the results of their help, and often friendship.

Among Greek archaeologists whose assistance was prominent in the early days of the research work were Katie Demakopoulou, who introduced me to and gave me permission to study the Alepotrypa finds, and the archaeologist Iphigenia Dekoulakou. I learned much from discussions about Neolithic matters with K. D. Vitelli, Tom Jacobsen and John Lavezzi. I also owe a debt to Mats Johnson, Angelika Douzougli and Lisavet Hatzipouliou for showing me and discussing their material. In the latter stages of readying the text for publication, Alexandra Mari has been of immeasurable assistance in supplying me with books and offprints, as well as discussing the Neolithic finds from Euripedes Cave.

The role of the British School at Athens and its personnel in every student’s programme of research in Greece is too apparent to call for special mention. This book also owes much to the other foreign schools in Athens, particularly the American School of Classical Studies and the past Directors and Secretaries of the Corinth Excavations, notably Charles Williams, where much of the groundwork for this study was laid.

Other friends who encouraged and aided in the publication project were Lucia Vagnetti and Robin Barber. I am also, of course, most grateful to David Davison and Rajka Makjanic of B.A.R. for undertaking to publish this book and for their patience and encouragement in its long period of gestation.

For permission to study and use unpublished material and for much valuable information, I am deeply grateful to a host of excavators, Greek, British, American, French, Italian and Swedish. They are named individually in the appropriate places, and it must be emphasised that it is their material that constitutes the body of this book.

The technical work of layout, scanning and colour separation was entrusted to the experienced hands of Tasos Bellas.

On a more personal level, I owe much to John Evans, who supervised and guided the thesis, and to Cressida Ridley, whose close friendship and help in every sort of way played such a large part in its writing.

Lastly I must express my gratitude to the Aylmer Cotton Foundation and the Institute for Aegean Prehistory for their generous contributions towards the expenses of preparing this publication.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

INTRODUCTION

neighbours by style and technique to justify treating the region as a single cultural unit. This is more clearly apparent in some phases than in others.

The Peloponnese forms an approximate cultural province. The precise delimitation of a cultural province, even for a restricted archaeological period, is not always easy to define. Over a time-span of some three thousand years, which witnessed probably considerable climatic and ecological changes, and certainly the development of a great diversity of pottery types, it is not to be expected that cultural boundaries should remain constant.

It was decided originally to take the whole Neolithic Age as the chronological framework for the study, principally because it was thought that a unified study of the development, changes and relationships of all the Neolithic pottery from one region might make a useful contribution to the elucidation of Greek and Aegean prehistory. It is, too, a moment in man’s history that has a certain stadial unity of its own, at least in this part of the world. It starts with his first efforts to control the environment through agriculture and animal husbandry, and ends with the rapid expansion of trade and intercourse that accompanied the development of metallurgical techniques in the Early Bronze Age.

In the earliest stages of the Neolithic period it could be argued on the ceramic evidence that all the Greek mainland, from Macedonia to Laconia, constituted one province, while during what is generally known as the Middle Neolithic period, the same area could be subdivided into five or six zones. With this qualification, however, the pottery of the Peloponnese is on the whole sufficiently distinguished from that of its northern

5

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

NOMENCLATURE

of pottery locally made by the occupants of the site at some time late in the first Early Helladic period.

The choice of a suitable nomenclature for the subdivisions was difficult. Weinberg (1965) was still using the tripartite scheme of Early, Middle and Late periods which he first proposed in 1947. Milojc¬ic´ (1959) first employed a combination of site names with prefixes and numerals for the Thessalian Neolithic phases, which he called cultures, the basis for which was partly typological and partly chronological. At the same time he used the term Early Thessalian for the Early Bronze Age. He later modified the system for the Early Neolithic by renaming some of his cultures (1971), and Hauptmann did the same for the Late Neolithic. Renfrew (1972) and French (1972) followed his example, the first using site names for cultures and the second using them for phases, and they later went a step further by using site names for the Bronze Age phases in Southern Greece and the Cyclades.

The term Early Helladic, like Early Minoan and Early Cycladic, as traditionally used, is a geographical and chronological designation and not the name of a culture; it means no more than the Early Bronze Age in Southern Greece (cf. Caskey 1964, 4).1 The second point is that the chief purpose of any typological study is to order the material within a chronological system so as to enable comparisons with contemporary cultures elsewhere, and thus to look for evidence of contact, influence, movement, commerce and so forth, on which theoretical models can be based. Whatever scheme of terminology is used, all the pottery groups must in the end be fitted into a sequence and given as precise a situation within an absolute chronological system as the evidence allows.

None of these systems seemed to me to meet all the requirements of simplicity, consistency and logic; it is not proposed to argue the theoretical aspects of the question here, but two practical points are worth making. The first is that the use of site names for cultures or pottery phases implies a geographical unity of style which is rarely found in practice, at least in the Neolithic Age; it masks important local variations and its validity diminishes proportionally as one moves away from the type centre. At a certain point the contemporary assemblage on another site may appear to one archaeologist, if not to all, sufficiently distinct to warrant a different culture/phase name, and thus a proliferation of names ensues. More often than not the composition of a group at one site will differ somewhat from that of a group best represented at another site in the area, due simply to a slight chronological difference. Are they then to be considered different cultures or phases, and which of them will take precedence as the type site? Early Helladic II was called the Korakou culture/phase by Renfrew and French, although Lerna is considerably more important in terms of architecture, stratigraphy and pottery repertoire, and the two assemblages may well be seen to differ when the final publication of the latter appears. Early Helladic I was named the Eutresis culture/phase after Caskey’s groups III-IV at that site, although there is EH I material in group II and material from the last phase of the Neolithic in group III. The assemblage from PerachoraVouliagmeni is different again in many respects and unquestionably EH I. It is a much more homogeneous and unified pottery group with a shorter time span, and one might therefore think more deserving to be used as a culture/phase label than Eutresis. But it was not, any more than Early Minoan IIb was christened the Myrtos Culture, for the simple reason that it only represents an assemblage

In the beginning of prehistoric investigations in an area, it is naturally not possible to construct an overall framework; this can only be done when they have reached a point where it is clear that no major cultural gaps exist in the sequence. In the Greek Neolithic as a whole we have reached this stage. Although still far from being able fill in the details, we can at least establish the main periodic divisions with some confidence that they will constitute a broad and stable frame of reference that will support the finer ordering of the material to be expected in the future. It has also to be borne in mind when constructing a scheme for one region that it must ultimately be integrated into a wider geographical context. Fortunately, within the boundaries of modern Greece, with the possible exception of east Macedonia and Thrace, the major cultural changes during the Neolithic Age are sufficiently, if not exactly, contemporary to fit into one general chronological system of periods. The earliest Neolithic, from west Macedonia to the Peloponnese, can be considered contemporary by the prehistorian’s calendar, although there may be a slight absolute lag in its first appearance in the south, which more accurate methods of dating than exist at present may eventually be able to reveal. The cultural change represented by the development of Sesklo type pottery in the north and Urfirnis in the south is a second roughly synchronous phenomenon, which is reflected in settlement patterns as well as pottery. In central Greece the changes in pottery style are less apparent, but still sufficient to define the chronological period and impart cultural identity in the areas where it is most marked, even

6

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

where no sharp typological break in continuity is apparent. The beginning of the next period can be synchronised right across the country with some probability, and it represents, if not a break, at least a sharp deflection from the previous steady course of development. A range of new wares appear which have little obvious direct connection with those of the previous period, although the actual transition is stratigraphically documented at very few sites.

In the Peloponnese the Late Neolithic period had always been a dumping ground for all the material between the Middle Neolithic and the ill-defined first period of the Early Bronze Age. In the course of working closely on the large body of very heterogeneous material from virtually every site in the Peloponnese, however, I found there were too many wares and types to fit comfortably into three periods, and therefore for the sake of convenience I proposed in 1975 to use the term Final Neolithic to cover the late Crusted, Pattern-burnished and Transition material. I had discussed the term with Colin Renfrew some years previously, and we agreed that it was more convenient than adding more LN subphases, which were themselves capable of further subdivision. This period is also distinguished by the first appearance of metallurgy in Greece and thus heralds the formal end of the Neolithic. It corresponds to the periods known as Chalcolithic, Eneolithic or the Copper Age elsewhere,2 but those names were not familiar to prehistorians working in Greece. My four periods have been generally accepted, but not the nomenclature: a number of colleagues prefer to keep the term Late Neolithic, which embraces a multitude of different wares and phases from the end of the Middle Neolithic to the beginning of EH I and to subdivide it accordingly.

These three periods, corresponding to Weinberg’s Early, Middle and Late Neolithic, are in theory capable of being assigned absolute calendar dates. They are purely conventional divisions introduced for convenience in dealing with a large body of diverse material covering a long time span. Since they are primarily chronological and not cultural, they must, like the Early Bronze Age periods, be defined in each province by the local pottery groups of the cultures which fall within them. It makes no sense, for example, to speak of the Early Neolithic ending later at Elateia than at Corinth; this is to give the term period, which is a chronological concept, a cultural significance. The EN, MN and LN periods are thus logically contemporary all over Greece. What in fact happens is that the Red-on-White ware which characterises the EN at Elateia continues into the MN at that site and thus some of it is contemporary with the Sesklo wares in Thessaly and the Urfirnis in the Peloponnese. The beginning of the corresponding Middle Neolithic period cannot be readily defined in Boeotia, because there appears at the moment to be no marked diagnostic change in pottery style to serve as an indicator.

In this book I use a four-period division of the Neolithic, adopting Weinberg’s criteria for the first three, with some modifications. The subdivisions made by the excavator at any one site are rarely applicable to all other sites, and a general survey such as this must reconcile all the different systems and subdivisions proposed. Therefore, where subdivisions appear justified, they will be broadly labelled Early, Middle, Late and Final, in order to preserve flexibility and allow scope for more precise future adjustments to the sequence I have suggested here. To simplify and shorten the terminology, they have been numbered Periods I to IV, but both systems are used in discussion according to the context. Site names will be used for particular wares, such as Gonia Polychrome or Prosymna Incised, to distinguished them from related but not identical wares with which they might be confused. Finally, the period of time spanned by an excavated deposit that seems to be secure and of limited duration, may sometimes, for the sake of convenience in discussion, be designated by an appropriate name, like the Bothros or Forum West phase. These are chronological, not cultural terms, characterised by a certain typological repertoire, and represent a theoretically precise, if as yet not precisely known number of calendar years. They fall within the general system of Period subdivisions, as defined above and which are also called phases, but are unlikely to be coterminous with them. The Forum West phase, for example, comes somewhere late in the Period III (or LN 1) Early Phase.

If the major periods can be established with reasonable assurance for the whole country, the subdivisions are another matter. They vary considerably from province to province and the information available about them varies even more. The north Thessalian EN is subdivided into three cultures and six phases: Achilleion, Early Protosesklo. Protosesklo, Transition, Early Magoulitsa and late Magoulitsa (Milojc¬ic´ & Milojc¬ic´ 1971). In central Greece two phases were recognised (Weinberg. 1962). In the Peloponnese, although there are undoubtedly two and perhaps three Early Neolithic phases, these have not yet been clearly defined stratigraphically. The MN period in Thessaly and the Peloponnese can be subdivided into Early, Middle and Late phases, although these cannot be given precise dates because their limits cannot be closely defined even on stylistic grounds, but they are none the less useful for that. The Late Neolithic of Thessaly has been divided into seven groups, although it is not clear how far they each represent separate phases: Tsangli, Arapi, Otzaki, Local Dimini, Classic Dimini, Larisa and Rachmani (Hauptmann 1969).

7

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

HISTORICAL SYNOPSIS

In earlier years the Neolithic sequence in the Peloponnese received little attention compared with that of Thessaly. Only Weinberg and Walker-Kosmopoulos had treated the subject methodically, and their studies were based on and virtually confined to one site, Corinth. Their conclusions, as well as those to be drawn from excavations at other sites, will be discussed in some detail in the following section, but a general account of the work done on the principal sites to date will make the present situation clearer.

characteristic ware is the class of Polychrome that has taken its type name from the site. In 1920 Walker-Kosmopoulos conducted “careful and scientific excavations” on Temple Hill again to check the 1914 results. As briefly reported at the time (WalkerKosmopoulos 1921, 260), the lowest strata south of the produced wares resembling those of the First Thessalian Period, while those from the upper strata were more related to the Second Thessalian Period. On the north side there was little of the first class, but wares contemporary with the second were found in almost equal amounts with Early Helladic. In the same year, south and east of Temple Hill, close to a 1905 Hermance pit, she discovered her first deposit of apparently uncontaminated later Neolithic pottery in a layer .50 m deep overlying bedrock. It consisted of “Brown on Buff” (Matt Painted), BlackBurnished and “Protominyan” (Grey) wares, together with a little earlier material. This group of wares, confirmed by subsequent excavations, formed her Corinthian Period III is substantially the same as Weinberg’s Late Neolithic.

Apart from the occasional artefact found during the 19th century and ascribed at the time to the New Stone Age, the first published observation of “pre-Mycenaean” pottery belonging to “the same class as that found from Thessaly to Crete,” was made by T. W. Hermance at Corinth in 1904 (Hermance 1904, 440). In fact six years earlier Neolithic sherds had been found by Dickerman near the Temple of Apollo, from which the Urfirnis pedestal bowl shown in LWK, pl. II, was later restored. In these first years of the 19th century WalkerKosmopoulos began to interest herself in the prehistoric pottery that was turning up at Corinth and she was given a virtual monopoly of it. In 1914 she made the first Neolithic excavation in the Peloponnese when she opened several trenches on Temple Hill. There was general disturbance in all but one, where she found over two metres of apparently undisturbed Neolithic strata underlying Early Helladic levels. She could thus show that the Early Helladic Urfirnis, found earlier at Tiryns, was stratigraphically later than the Neolithic. More importantly, she distinguished three strata within the Neolithic deposit, the lowest of which contained 90% variegated monochrome pottery, which she named “Rainbow Ware,” and “Riddled Ware” (Weinberg’s “Spongy Ware”), with a little Red-on-White painted. This group was to form her Corinthian Period I in the final publication.. In the next two strata there was a progressively increasingly increasing percentage of “Corinthian Brown Ware” (Urfirnis), still accompanied by the Riddled Ware. These strata she later assigned to Corinthian Period II. Twenty-three years later Weinberg, excavating in the same place, was to make the same subdivision of the material.

In 1924, in an upland valley a day’s walk to the south of Corinth, Blegen and others excavated the Classical remains of Phlius (Blegen 1925a). In a deep sounding near the present stream bed they found Neolithic sherds at the base of an Early Helladic stratum; they were mainly Early with a little Final Neolithic. The material remained unstudied for forty years (Biers 1969, 444 ff). In 1926 Blegen excavated an extensive Early Helladic site on the southern slope of Tsoungiza hill, by ancient Nemea (Blegen 1927). Tsoungiza is a low hill on the western edge of a small fertile basin at the head of the river Zapantis, with easy access to Corinth on the north and Argolida on the south. Apart from the trial trenches across the hillside, all the Neolithic material came from a large collapsed cave. Although the manuscript was completed at the time, it was only published in a revised version in 1975 (Blegen 1975). Until then there were only brief notices by the excavator (the fullest in Blegen 1927, 437-440) and a few references elsewhere (Mylonas 1928, 82). The material was compared to the Thessalian A1, A5 and A3b of the Wace and Thompson classification, in other words WalkerKosmopoulos’s Period I, to which it is very similar. For more recent remarks, see Wright 1982, 375-97.

Two years later Blegen (Blegen 1931)dug a series of trenches across the hilltop of Gonia, a few miles east of Corinth, seeking confirmation of the Bronze Age sequence he had established at Korakou. In four of them he found Neolithic sherds mixed with the Early Helladic, but no stratified levels, and he classified the material by wares alone. With the exception of a little Early Neolithic and some Urfirnis, the material is Late Neolithic, and inevitably his classification was misleading. The most

In the same years Blegen was excavating the prehistoric deposits on the hills of Prosymna in Argolida (Blegen 1937). The deposits occurred in five separate places on the site, and he divided the material into three groups. The first came from the small collapsed burial cave on the

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

terrace above Tomb X and included Early Neolithic Redon-Buff, Middle Neolithic Urfirnis and Late Neolithic Matt Painted wares, all of which are put in his A III class. The second group, from the East Yerogalaro Pyres, contained Polychrome sherds like those from Gonia, a few incised sherds and a dark coarse ware, but, curiously, no Matt Painted. The third group contained fine incised and Pattern Burnished pottery. It is probably, from the circumstances of the find spots, that the last two groups were closed deposits and represent occupations of short duration. But it is strange that Blegen did not deduce the relatively later chronology of the Matt Painted element in group 1 from its total absence at Ayioryitika, to the material from which he several times refers.

pointed to the existence of a late phase in Period III. This late phase is characterised by a new variety of BlackBurnished ware having different shapes and decoration and by the more frequent occurrence of “Tricolor” (Polychrome)and “minority wares” (not specified), as well as a marked increase in coarse wares. Weinberg used the similar material he found in the same area to define his Late Neolithic subdivision. Walker-Kosmopoulos’s last excavation, in 1935, in the fill which lay along the southern edge of Temple K, was an attempt to bridge the gap between her Periods III and V (roughly EH II). Although she realised that it was all late fill, uniform from top to bottom, she persisted in believing that it must have come from a single stratified deposit elsewhere. Since the material included Gonia Polychrome and Red, Brown and Black-Burnished wares, as well as EH I, her Period IV was something of a ragbag. At this point she retired from the Corinth scene, but publication of her first volume was held up by the War until 1948. The second volume, which was to describe the pottery, never appeared.

Ayioryitika, which Blegen excavated in 1928, is on a low alluvial terrace beside a stream flowing into the plain of Tripolis. He uncovered round and rectangular houses with stone foundation walls and packed floors, and he distinguished two stratigraphic phases. The material remained unpublished, but carefully segregated by trench and level, until the war, when due the storage conditions it became hopelessly mixed and could not therefore be published without further control excavation. It is clear, however, from the short note by the excavator (Blegen 1928, 533-534), that the results were similar to those from 1914 Temple Hill excavation at Corinth. He also recognised that Urfirnis developed from the earlier Redon-Buff ware (Blegen 1932, 661). There are other references in the Prosymna and Gonia reports (especially Blegen 1931, fig. 1).

In the early thirties the Swedish Messenia Expedition under Valmin excavated the great Bronze Age site of Malthi. The excavator believed some of his earlier material to be Neolithic, but neither the illustrations nor the descriptions support his belief, and I was informed by Roger Howell, who examined the material, that he observed nothing earlier than Middle Helladic. Weinberg also pointed out that the profiles of the Grey Ware from Malthi were different from those of the Late Neolithic at other sites (Weinberg, 1940, 156-158).

In 1930 Bertos excavated the deep Pan Cave on the mountainside above the modern village of Klenia, close to a pass linking Corinthia and Argolida. Apart from Roman, Hellenistic and Classical votive terracottas, Mycenaean and Middle Helladic sherds, the cave is particularly rich in Late and Final Neolithic material, including some late-looking Urfirnis. Figurines were also reported (Bequignon 1930, 479; Kathimerini 18-III-1930; Syriopoulos 1964, 24).

Between 1936 and 1938 Holmberg excavated Asea, a small steep-sided hill on the western edge or a marshy valley. Little stratification was found in the lower levels, but the quantity and quality of the Neolithic give it typological importance. It somewhat resembles that from Ayioryitika, but the relatively low proportion of Early Neolithic Black-Burnshed and Red-brown slipped wares compared with Nemea, for example, imply a somewhat later date than Ayioryitika for the first occupation. Asea is remarkable for the amount of White-on-Red painted ware, not generally common in the Peloponnese and so perhaps a local rather than chronological feature. Holmberg based his classification on Blegen’s Prosymna model, but with modifications of his own, which only added confusion, as Weinberg politely hinted in his review (Weinberg 1945, 381). Some of the material has recently been republished by J. Forsén (1996).

In the same year Walker-Kosmopoulos excavated what she considered to be an undisturbed Late Neolithic deposit in the Forum West area at Corinth. The Matt Painted, Black and Grey Wares were similar to those she had found on Temple Hill in 1920, but in a securer context, and confirmed her classification of Period III. Excavations in the following year, 1931, on the site of the present Corinth museum by Miss Hill produced interesting new evidence for Period III. Although the area was much disturbed by Early Helladic intrusions, as Weinberg found in 1938, the absence of Period II material and the presence of types that were rare or absent from the other previously known deposits of this period, both

Weinberg’s excavation of six trial trenches on Temple Hill at Corinth in 1937 and his rapid publication of the results were something of a landmark (Weinberg 1937). He gave the first clear and concise outline of the sequence

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

for the earlier Neolithic periods. There was no communication between him and Walker-Kosmopoulos and some of his trenches seem to have overlapped hers, but their conclusions were similar. In the otherwise disturbed trenches he found three isolated deposits. The two early ones were on or cut into bedrock and one of them contained large restorable fragments. The third, in a small area of Trench VI, produced quantities of Urfirnis with some Grey Ware. Using these deposits as a control, he classified the rest of the material, dividing it into two periods, the first of which roughly corresponded to Walker-Kosmopoulos’s Period I, but the second of which included all the later wares. He rectified this the following year when he found Matt Painted, Black and Grey Wares west of the New Museum mixed with Early Helladic material, but without any Urfirnis. This led him to propose his overall division of the Neolithic into an Early, Middle and Late phase. (Weinberg 1942, 121). In 1937 he had found his Class II A Red Monochrome, which he equated with the Thessalian A1, in both the early and late deposits, although more of it with the latter: he had also noticed sherds which combined the Class II technique with the earlier I B Red Slip, as well as sherds combining the II A technique with the later Urfirnis lustrous slip. Consequently he considered the II A Red Monochrome transitional between the I B Red Slip and the Urfirnis wares, and appears to have accepted, like WalkerKosmopoulos, Blegen and Kunze (at Orchomenos) the view that Urfirnis was a development out of the Red Slip (Weinberg 1937, 498, 500). He restated this view more emphatically ten years later (Weinberg 1947, 175) and again in 1960, (Weinberg 1960, 249). Nevertheless he subsequently rejected this opinion in favour of a Middle Eastern origin for Urfirnis ware (1965, 39).

three metres deep were preserved with hearths and whole pots on the surface. The speliologists collected the surface material and dug some pits, which produced human skulls and burial remains, but no archaeological examination was carried out. Subsequently much of the deposits was dynamited and cleared to open up the cave for tourism. A small hoard of silver jewellery was found on the scree above the subterranean lake, and three copper tools in the entrance fill (best summary in Daux 1962, 724). In 1970 excavation was begun by Papathanasopoulos (1971) and has continued ever since (in 1971 in partial collaboration with the French Archaeological School: Lambert 1972a, 845-871). Three fragments of possible copper knives were reported and curious deposits of skulls. The earliest sherd I observed from the cave was late Early Neolithic, but there appeared to be no Urfirnis when I examined it and the bulk of the material is Late and Final Neolithic. Only scanty reports and references to the pottery have appeared to date: Papathanasopoulos 1971; 1971a; 1971b; 1996, with mention of further copper finds, etc.; 1997. Weinberg’s last excavation at Corinth, in 1959, consisted of four test trenches (1960, 246-253).There was no good stratification in trenches 1 and 2 beside the Lechaion Road, except for a patch in 2, where he detected a succession of floors. On the lowest were Early Neolithic Spongy, Variegated, Red Slipped and painted sherds, with a little of his A I class. Above, the material was largely Middle Neolithic. In trenches 3 and 4 he found pure Early and Middle Neolithic deposits on bedrock, but they were wash derived from higher up the slope. The progression from Early to Middle was well illustrated, but gave no basis for a finer separation of the two periods. Even so, the transition role of the Red-brown slip was apparent. There was much Late and Final Neolithic material in all the trenches, some of which, to judge by his comment, was new to him, especially the Red-brown Stroke Burnished ware. A number of these sherds were also found in trench 1 at levels suggesting a late phase.

Von Vacano made a small excavation at Kouphovouno in 1941. The site is on a low river terrace close to a tributary of the Eurotas. The periods represented include Middle, Late and probably Final Neolithic, Early Helladic I and II, Middle Helladic and perhaps a little Mycenaean. The material was taken to Germany where a careful study and analysis of the fabrics and slips were made, but the completed manuscript was not published until 1989, by Josette Renard. The material was later returned to Greece and is in the Sparta Museum (von Vacano 1942: 156; Demakopoulou 1966: 158, pl. 150; Waterhouse & Simpson 1960: 72; Renard 1989).

In 1968-1970 three excavation campaigns in the Babbius Monument and Forum West areas at the west end of the Corinthian forum. Babbius West and Babbius North Trenches produced stratified EN and MN deposits. Most of the earlier EN was Variegated, with half as much Black monochrome, as well less Spongy, Red Slip, coarse and a little Red-on-Buff. In the later EN phase there was a sharp increase in the percentage of Red-on-Buff and Red Slip wares. The first examples of Urfirnis, including some patterned pieces, appeared in what was apparently a transitional phase. EN, containing a relatively high percentage of Red-on-Buff and Red Slip, was still three times commoner than Urfirnis. In the overlying MN contexts, along with plentiful EN and Transitional wares, there was typical Urfirnis, including some “dappled Urfirnis” (coarse monochrome with spots or dapples

In 1958 the Greek Speliological Society discovered and explored the great cave of Alepotrypa with its deep subterranean lake near Pyrgos-Dirou in Mani. The entrance to the cave, on the shore of a small sandy bay, appears to have collapsed and blocked the cave at around the beginning of the Early Helladic period, since no later pottery has been found there belonging to the Early Helladic I period according to my criteria. Deposits up to

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

inside, as at Franchthi, Asea and Kephalari), but very little Scribble-Burnished and no Pattern-Burnished.

have been very short. In the provisional report the excavator notes that a development is apparent in the style and quality of the Urfirnis decoration (1958, 137). In the uppermost Neolithic level Urfirnis sherds were mixed with Matt Painted and other Late and Final Neolithic material, and no traces of structures were present, but there were three burials of the Final Neolithic period. Caskey attributed the absence of Late Neolithic levels to extensive landscaping by EH II settlers, for which there was good evidence. The presence of Final Neolithic burials, however, together with the scarcity of the latest MN wares points to a sharp decline in occupation before the end of the Middle Neolithic, such as also occurred at Ayioryitika and Asea. Lerna is the most important site for the stratigraphy of the EN - MN transition and the development of the MN phases (Caskey 1954 - 1959).

Forum West. The 1970 excavations west of Temples H and J found undisturbed Neolithic habitation deposits. There were four groups: MN, LN, early EH and later EH, the largest being the Late Neolithic, which essentially represented a single phase. It contained a remarkably wide range of plainly contemporary fabrics, divisible into about a dozen classes, each with a wide range of variation in fabric. The three largest classes comprise 85% of the total: Black Burnish, Matt Pink and probable Matt, and coarse or coarse burnished (in order of quantity). Small numbers of other wares, included monochrome Urfirnis, Black-on-Red and a little plain buff and patterned Urfirnis, and 14 Grey Ware, 12 Variegated and 8 tiny Grey on Grey sherds (Lavezzi 1978, 428). These excavations produced more Rhytons (Ritual Vessels) than all the other sites in Greece. The stratified LN material from Forum West is essentially a single phase, LN I in the Corinthian sequence, and “mostly a later, more developed part of that phase, or “LN Ibid,” confirmed by the absence of later LN wares: brown glazed, Grey Ware in quantity, Gonia Polychrome, Prosymna fine-line incised, Red PatternBurnished or Crusted wares (Lavezzi 1978, 402-451).

Franchthi Cave, on a small enclosed bay further east on the north side of the Gulf of Argos, is the only stratified site at which occupation can be traced from the Palaeolithic to the end of the Neolithic. Excavations began in 1967 and continued until 1973. The preliminary reports in Jacobsen 1969; 1973 a & b have now been superseded by the series of fascicles detailing the final results of the excavations (Jacobsen 1988; Talalay 1993; Vitelli 1993 & 1999; Wilkinson 1991 are the most relevant here). The transition from Early to Middle Neolithic is less clearly defined at Franchthi than at Lerna, perhaps because the relevant levels have been less extensively excavated, but also because as in cave sites generally the stratigraphy tends to be confused. However, Franchthi is above all important during the Neolithic period for the late phase of the Middle and the transition to the Late Neolithic. The upper levels were unfortunately disturbed by modern digging for sheep manure, as the cave was used for many years as a sheep pen, but the quantity and variety have extended the repertoire of Late and Final Neolithic shapes and decoration.

Meanwhile Caskey had been excavating at Lerna between the years 1952 and 1958. The site is on a low hill on the southern shore of the Gulf of Argos. Soundings below the EH II settlement went down through eight Middle Neolithic building levels and a metre of Early Neolithic to bedrock. In three out of four of the EN soundings it was difficult to distinguish floors, but in AP he found three superimposed stone wall foundations. The EN and MN strata were separated in most places by a pebble layer, but it is not clear whether this represented a break in occupation or not. From the typological continuity of the pottery it seems that any break must

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

SITES AND EVIDENCE

The following account of the most important sites is not intended to be complete. Only those facts or parts of reports that throw some light on the pottery sequence and chronology have been summarised. Further reference to the material and discussion of the conclusions will be found in other sections.

Dark, Red, Mottled and Coarse wares. Other interesting finds include rhyton fragments, spondylus bracelets and a large hook made from spondylus shell, much bone work, perforated schist crescents, marble figurines (102:1,2), one stone macehead, silver bracelets, a pendant and beads, and a set of three copper tools, which came from the entrance fill, according to Mrs. Petrocheilou (verbal communication). The painted ware includes Polychrome, different from, although related to that of the north-east Peloponnese, but the repertoire of shapes is curiously limited, being confined almost exclusively to collar jars, with only a few fragments of bowls. This may, however, be due to selection by the collectors, since all their finds did not reach the museum.

Akrata The site is close to, and west of the Akrata-Krathion road, where it is cut by the new Patras highway, on a terrace above the narrow coastal plain. It was completely demolished during the construction of the highway in 1967, but a rescue excavation was conducted by the Ephor of Antiquities, Mr E. Mastrokostas, who was kind enough to show me some of the material and allow me to make some drawings. There is much of the EN Period, comparable to and rivalling in quantity that from Nemea, as well as lesser amounts of Late and Final Neolithic and Early and Middle Helladic material. A number of whole and restorable vessels of different periods were found, and some figurines. It is the most westerly EN site known to me in the north Peloponnese, and it must have been nearly as large as Corinth in that period. It has parallels with Nemea, in the askoi and the decoration, with Asea in some of the motifs, and with Central Greece in the finish and white slip of certain sherds. (Mastrokostas 1968, 138).

It is clearly important to try to establish the date of the last occupation of the cave, since on this hangs the chronology of the pottery as well as the metal artefacts, some of which have no close parallels in the Aegean. All the indications are that the entrance collapsed and sealed off the cave during, or soon after, the occupation phase represented by the hearths and intact vessels found lying on the surface. Nothing surely attributable to later periods has been observed among the pottery, and the cave itself became inaccessible except through a narrow fissure on the hillside above, used by foxes and other animals. This was discovered and brought to the attention of the speliologists by a villager, whose dog, while hunting, disappeared down the hole and only reappeared a day or so later, covered with mud.

Alepotrypa I do not know whether the subsequent excavations by Papathanasopoulos have produced useful stratigraphical information, but from the reports it is apparent that he has found much of interest, including clay-lined bothroi, skull deposits, and a wealth of pottery and artefacts, including two small copper knives and fragments from melted metal (Lambert 1972a., 860; for a brief summary, see Papathanasopoulos 1996, 80-84; and for a good illustration, Demakopoulou 1998, 83, fig. 130).

I have drawn heavily on the Alepotrypa material to illustrate my Final Neolithic transition phase on the grounds that no diagnostic EH I traits, as defined in Appendix A, were found in the cave to my knowledge. Certain sherds are typologically close to the EH I repertoire, but they are few in number, and seem to me just sufficiently similar to emphasise the gradualness of the transition, and the basic continuity, between the two Periods. Other shapes could indeed be assigned to either period, since they are not diagnostic, and also occur in earlier contexts like the Agora. The parallels and problems of each type are discussed in detail in the Catalogue.

The material I was able to examine came from collections made by the speliologists and local workmen. I picked up a good late EN sherd and an obsidian crescent microlith from the terrace outside the entrance, which was constructed from material thrown out of the cave, although no other EN material has since been reported. I have seen typical Middle Neolithic ring feet, but no actual Urfirnis sherds, so any further evidence MN occupation must await final publication.* The material I saw in the Sparta Museum came from the surface collection and casual probings by the speliologists: the pottery is all Late and Final Neolithic, consisting of Matt Painted, Black,

The objections that could be raised against this interpretation of the Alepotrypa pottery are freely recognised. First, my criteria for defining EH I types may not be generally accepted. Second, the apparent absence of diagnostic EH I traits could be fortuitous, or, equally, could be due to a locally individual tradition which does not reflect the typical characteristics found in other parts of the Peloponnese. The last point may be partially

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countered by the fact that none of the EH I features found at Kouphovouno, the route to which is not excessively long and difficult, or at Kythera, are found at Alepotrypa: matt-impressed bases, scored or wiped ware, wavy or cutoff rims.

excavation in the cave may of course invalidate the chronology suggested above, but on the present available evidence it is at least probable that the pottery and other objects are contemporary, and the present division rests on that assumption. Pending that, there can be no certainty about the Alepotrypa chronology, and nothing can be gained here by pursuing further the argument whether or not, or by how much, any of the pottery overlaps into EH I. Scattered references can be found in Papathanasopoulos 1996. *But see Papathanasopoulos 1996, 220: the “Pride of Dirou.” The features of this unique collar jar with its fine lustre, as the author points out, are Urfirnis in shape, decoration and technique. It is a remarkable vase, quite out of place in the Alepotrypa context.

The other objects from Alepotrypa add little to the picture given by the pottery. The single macehead is not by itself diagnostic. The nearest other examples are from Kouphovouno (Reynard 1989, 85, fig. XX, 1,2), where their context is doubtful, but might be EH I; they can hardly be used to establish a terminus post quem. One is known from Attica, in an EH II house at Ayios Kosmas (Mylonas, 1959, pl. 169-65). They are commoner in Thessaly, where they have been found in EBA levels at Sesklo and Dimini, but were “very probably already in use in the LN” (Tsountas 1908, 322-4). One from Rachmani was found in a house that can be dated to the phase following that of the Crusted ware, and roughly contemporary with my Late Phase IV in the Peloponnese; another from Zerelia seems to belong to the transition stratum (Wace & Thompson 1912, 42. 165). In Crete they occur throughout the Neolithic, although not in the lowest levels (Evans 1964, 229), and in Yugoslavia they appear in the Vinc¬a-Ploc¬nik phase (Alexander 1972, 45). Of the three copper tools, the adze (103:2; p.168) is quite unique in the Aegean, but has an exact counterpart from a site near Trieste, which on typological grounds should be Aeneolithic in Italian terms. It belongs to the massive class that includes the Knossos and Sesklo axes, and the casting-depression in its butt is the same as that on one of the latter. They are generally accepted as being Neolithic. The silver pendant is massive and cast, not hammered leaf, and drilled like the green schist pendant from Dimini, which it resembles in form (Tsountas 1908, 337; pl. 42:8; and cf. BCH 96, 1972, fig. 305, from Pevkakia). The bracelets have a certain similarity to one from Rgrave 15b on Levkas (Dörpfeld 1927, pl.60:7). The Rgraves in general may be dated by the pottery and associated objects to EH II, and the simpler Alepotrypa bracelets could be taken to illustrate an earlier form, typologically ancestral to the multi-coil bands of Levkas.

Asea The excavator reported, beneath a pure EH stratum, 0.90m of mixed EH/Neolithic deposits (Asea), and the illustrated schematic section seems to show 0.30mof pure Neolithic. The material is classified typologically, and some of the categories include wares of different periods and phases. Neolithic Matt Painted sherds are put with the EN painted ware (1944, fig.77 b, c, g, j) and there is a general confusion between Neolithic and Early Helladic Coarse wares. The material is at present distributed between the Nauplion and Tegea museums and I was able to examine all that could be found in both. There is a fine collection of partly or fully restored pots, but comparatively few sherds that I could find. The existence of only some ten Black Ware sherds, most of which do not need to be EN (class A 3); the scarcity of red burnished slip (class A 1); and the scarcity of variegated ware (A 2) date the first occupation of the site to the end of Period I. Asea is remarkable for the quality and relative quantity of White-on-Red ware, uncommon elsewhere in the Peloponnese; this class, to judge by the scarcity of other EN material from the site, should fall late in Period I. I saw no diagnostic Late Phase II sherds, and only a handful of sherds, including the Matt Painted, which can be attributed to Period III. There is some Period IV material, and EH I is well represented. The pithoi elaborately decorated with cordons have parallels at Alepotrypa, and may well span the transition; no hard and fast typological line can be drawn through this phase.

It should be pointed out, however, that the collapse of the entrance cannot now be dated, since the front of the cave has been entirely rebuilt, and that the closing of the cave cannot with certainty be chronologically tied to the abandonment of the cave at the beginning of EH I, although the occupation at a number of other Late and Final Neolithic cave sites in the Peloponnese seems to have ceased before, or early in, EH I. It cannot therefore be shown that the silver jewellery and copper tools are contemporary with the latest surface pottery in the cave. In any case neither the pottery nor metal typology of this period is well enough known to date one by the other closely. The publication of the last two decades of

A recent review of the site by J. Forsén (1996) has added much useful new material to the repertoire and needs to be considered when reading the above.

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groups Urfirnis and the other three wares together into one Late Phase, and he remarks of the Grey Ware that it is “ commonly associated” with Urfirnis (Weinberg 1937, 503). It is significant that Grey was commoner than Black Ware in his trenches (Weinberg 1937, 511). In his 1938 excavation beside the museum he found EH disturbance throughout, but no trace of Urfirnis. Grey Ware was “most abundant,” there were “many pieces” of Matt Painted, and Polychrome was “numerous” (Weinberg 1939, 599). He was thus able to separate these wares chronologically from the Urfirnis, which he put in a new Middle Neolithic Phase (Weinberg 1942, 121). But although he had found Grey as well as Matt Painted in his mixed Temple Hill deposits, he only used the latter as a type indicator for the Late Neolithic, and continued to believe that the Grey Ware occurred earlier and in association with Urfirnis (Weinberg 1970, 597).

Ayioryitika A few years ago the jumbled mass of material from the excavation was sorted and some of the more complete fragments restored. The little that remained in order, and the feature sherds, were retained. Of the seventeen small bags of unmixed material only three contain no red-brown slip sherds and so could be pure Early Phase I; five contain Late Phase transition sherds; but the bulk of the material belongs to Period II. I saw no Late Phase II or Period III sherds, although six of the bags include EH I and II wares. The site seems to have been first occupied at the end of Period I, and abandoned after the middle of Period II until some time in the Early Helladic I Period. Corinth Corinth and its immediate neighbourhood was extensively inhabited throughout the Neolithic age. Pottery of every period and phase has been found there in abundance, but most of the Neolithic deposits occur in the form of fill or wash. Untouched pockets of material are scarce, limited in extent or depth, and generally truncated by later levelling or cut by pits and wells. Nevertheless useful information can be gleaned from such rough stratigraphic evidence as has been recorded, and from a typological study of the contents of different deposits even where they are not pure. The undisturbed pockets on Temple Hill found by WalkerKosmopoulos and Weinberg established the Period I - II sequence (LWK 1948, 16,40, 43-47; Weinberg 1937, 492496). Little of the Walker-Kosmopoulos material can be located today, but fifteen of the thirty-three vessels she was able to restore are in the Corinth museum and at least two could be seen in the Halai showcase of the National Museum. Much of Weinberg's 1937 material is preserved at Corinth, but sorted by ware and useful chiefly as a source for typographical study. His 1959 material is all preserved as excavated. In trench 3, within the foundations of Temple K, he found a layer of pure EN at the bottom, underlying an almost MN level, with progressive mixing of the two at the interface, and reaffirmed his 1937 belief in the sequence: class I B, Red Slip - II a, Red Monochrome - II B, Urfirnis (Weinberg 1960, 247-249).

Walker-Kosmopoulos based her Period III on deposits in four places, only three of which concern us here. The first was the St John - West Shops - “tongue” region, now simply called Forum West and the site of the 1969-1970 excavations under Dr C. Williams, only a short distance south of Temple K where Weinberg put down trenches 3 and 4 in 1959. Here she reports Urfirnis as 4% of the total, which included 58% Black, 14% Matt Painted and 3% Grey Wares, as well as some Black-on-Red. The material from the more extensive 1969-1970 excavations was kindly shown me by Mr Williams and Dr Lavezzi, who has published it with the relevant data (Lavezzi 1978, 402-451), and my impression from a rapid inspection of the boxes is that the percentages of the wares are not very different from those given by Walker-Kosmopoulos (LWK 1948, 48-53). In most of the lots a little Urfirnis was present, some of which might be put down to contamination, which is inevitable when pits are cut into earlier levels, since the material from the pits will be incorporated into the debris accumulated by the diggers of the pits. There are plain Red Slipped sherds with a low lustre which could be grouped with the Urfirnis or the Black-on-Red ware, also present in small quantities. The commonest wares are Black, Matt Painted and Coarse. The Black Ware may be partly tan in colour, and many pieces are decorated with pink or pattern burnish. There is some Corinthian Polychrome, and a handful of very fine sherds which look identical to the best Thessalian Greyon-Grey. But Grey Ware proper is exceedingly scarce in the earlier levels, and only slightly more frequent in the later ones (information from Mr Lavezzi), and I saw no example of the grooved inturned rim bowls which are common among Weinberg's Temple Hill material. Rhyton parts are numerous.

Period II Urfirnis cannot be subdivided on the evidence at Corinth. Walker-Kosmopoulos illustrates its frequency growth on Temple Hill South and the progressive decline of Rainbow ware (LWK 1948, 47). But no floors or levels were observed there and she found the first sherd or two of Grey Ware in her second stratum. In the third stratum she notes the occurrence of Matt Painted, Black and Grey Wares, while north of the temple she found 7 % each of these wares along with 15% Urfirnis. Weinberg must have had similar results, because in the 1937 publication he

Walker-Kosmopoulos's second deposit, excavated in 1920, came from a place south and southwest of the museum, where “an unvitiated deposit” underlay a

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

developed EH stratum. Black Ware predominated, with some Matt Painted. Grey Ware varied from 3% to 10% of any given collection, but wares of earlier periods were almost non-existent (LWK 1948, 24, n. 48).

without the earlier Matt Painted, Black and Grey Wares. Weinberg believed that the Grey Ware phase overlapped and followed the latest Urfirnis levels (Weinberg 1970, 597 ff.), and must therefore precede the Forum West phase or phases. Lavezzi (Lavezzi 1978), on the other hand, has found the Grey Ware element increasing from the early to the late levels in Forum West. From this it seems more probable that the Grey Ware phase succeeds the Forum West phase. As we shall see, typological considerations and the rest of the material support this view.

The third deposit about which she comments was from the site of the new museum, excavated by Miss Hill in 1931. The material differed in several respects from that of other Period III deposits: the shapes and fabric of the Black Ware were not the same, and there was more Polychrome (LWK 1948, 30). In 1940 an adjacent patch was excavated for the extension of the museum (Weinberg, 1948, 197, n.1). Mr Lavezzi has studied the abundant material, mixed Neolithic to classical, and he informs me that it includes some Gonia Polychrome, Scratch-crusted and Red Pattern-burnished wares, and even a scoop fragment. This agrees with the brief account by Walker-Kosmopoulos.

If this interpretation is correct, there must be a gap in the occupation on Temple Hill corresponding to the formation of the deposit in Forum West. There is no reason why this should not be so, since every excavator is familiar with undetectable hiatuses in the stratigraphy. It should be added here that the Forum West deposit is not the earliest phase of Period III; the Matt Painted ware is already fully mature and very abundant. A stratified deposit covering the Period II -III transition has not yet been excavated, or noted, at Corinth.

Walker-Kosmopoulos's Period IV was best represented in the fill from south of Temple E (LWK 1948, 32.53). Her description of the monochrome wares is not detailed enough to identify them surely, because such wares are common at the end of the Neolithic and in EH 1, and the differences are slight. But two wares were certainly present: the Gonia type Polychrome and the Prosymna Incised (LWK 1948, 37,55; figs. 34; 37. pl. IV k,1). It is clear that whatever the nature of the deposit , these two wares must be dated, at least in part, later than the Matt Painted and Grey Wares, which from her silence one can assume to have been absent. The material from the 1940 excavation on the site of the new museum extension, already referred to, and the Prosymna evidence confirm this point.

Elateia, Sequence and Chronology Elateia is the one stratified site in Central Greece with a more or less complete Early to Late Neolithic sequence. At certain times the connections with Corinthia are strong, at others less apparent, but at all times it remains the nearest neighbour with which cultural and chronological comparisons can be drawn. Because reference will frequently be made to it, and because the stratigraphy presents certain problems, it is more convenient to summarise the situation in one account at this point, than to repeat the argument in several different places for each period. I shall concentrate on three points: the Early Neolithic sequence, the evidence for the Middle-to-Late Neolithic transition, and the chronology and typology of the Bothros deposit in trench 3.

Important Neolithic excavations by John Lavezzi in the Forum West area at Corinth from 1968 to 1970 (Lavezzi 1978, 402-451) under the direction of Charles Williams found stratified EN to MN levels and above them early LN deposits of a limited range of wares, which have been called the Forum West phase. The following conclusions can be drawn: 1. On Temple Hill there was an Early Neolithic occupation preceding the development of Urfirnis. 2. A substantial deposit of Urfirnis in the same place preceded the appearance of the first Late Neolithic wares. 3. On Temple Hill there was a phase in which Grey is the dominant ware. 4. In Forum West there was a phase in which Black and Matt Painted wares are dominant and Grey Ware is scarce. 5. On the site of the new museum and south of Temple E there is a later mixed deposit with Polychrome, Prosymna Incised and Pattern burnished wares, but

In 1959 Weinberg excavated three 4m trenches on the south slope of the Drachmani-Kheva hill (1962, 158-209) not far from where Soteriades had excavated in 1902 (Soteriades 1908, 63-68). Soteriades had found two metres of mixed painted and monochrome pottery overlying a metre of monochrome, and Weinberg found a similar sequence in his lower levels. Early Neolithic Weinberg was able to distinguish typologically three phases (1962, 167-178). The first is represented by a metre of monochrome pottery immediately over bedrock. The predominant colours of the sherds were browns, reds,

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greys and variegated, but there was no Black-Burnshed ware. A dark red or brown and a white slip occur in small quantities from the start. The morphological traits include tapered and everted rims, disk and concave feet, vertical and horizontal pierced lugs and even a few handles, as well as plastic decoration with round or oval pellets, the former often paired and on the rim, and plastic strips. Collar jars as well as bowls are found in the lowest levels. From this it is apparent that the first settlers arrived with an already well developed pottery technique. Two sherds of Corinthian type buff ware were found in Trench 1, 0.25m above the bedrock, and others higher up, which the excavator believed to be Corinthian imports.

Transition Red-on-White continues, apparently pure, from the 1.90m level until 1.60m and thereafter, mixed with later wares, but still “in force,” up to 1.20m, after which it tails off considerably. In trench 2, the best stratified, there were well marked floors at 1.20m, 1.35m, 1.50m and 1.65m (Elateia, 164). The later pottery consisted of Urfirnis, Black-on-Red and Grey/Black Wares, but no Matt Painted. In trenches 1 and 3 this particular stratum is not described, but in 3 a large bothros was picked up at 1.60m and traced down to 2.70m, which contained the same wares but with little Red-on-White(20 sherds). The Bothros may have started higher up (cf. Elateia, 165), but the 1.60m level, where it was first noticed, is also the level at which the same group of wares began in trench 2, and it is reasonable to suppose that both deposits represent the same phase. It is clear from the absence of Matt Painted ware in both that there must be a phase with Urfirnis, Black-on-Red and Grey/Black Wares preceding the appearance of Matt Painted at Elateia (Bothros Phase). Even higher up, between the 1.20m and 0.80m levels in trench 2, there were only eight Matt Painted sherds, and in the same stratum in Trench 1 only two. The Matt Painted and other late wares were virtually all concentrated in the upper 0.80m (Elateia, 196).

The second phase, represented by a stratum some 0.40m deep, is distinguished from the first by the appearance, among other new features, of Black Ware with more elaborate pellet decoration, notched rims, more White Slip ware of better quality, and the first painted sherds. They are decorated with a lustrous red brown pink on a buff to dark red buff ground. They are rare. The decoration is on the outside of bowls and jars, and inside the rims of bowls; the motifs are linear. On the illustrated examples the decoration is all neatly and professionally executed, and there is no evidence of primitive experimentation (Elateia, pl.56: a - b). The third phase is characterised by Red-on-White Slip pottery, which “begins seriously” at 1.90m in trenches 1 and 3, although some fragments had appeared earlier. The slip may be thin, streaky and transparent or thick, creamy white and well burnished. Both kinds are found together from the beginning; but in all phases some pieces have been reduced in the firing to a dark grey slip with a nearly black pink. The decoration is similar to that of the second phase, with the addition of small solid motifs: triangles, dots and semicircles, most often used as a pendant frieze inside bowl rims (Elateia, pl.56 c,d).

At the time of the report Weinberg commented that Urfirnis came late to Boeotia, and that Red-on-White had run its full course before it arrived (Elateia, 180). Since he also equated the later Red-on-White with full Sesklo (Elateia, 179), he must have believed that the Thessalian Sesklo and Peloponnesian Urfirnis groups represented more or less contemporary Middle Neolithic cultures. Both the radiocarbon dates and the scarcity of Urfirnis in Central Greece, as well as cultural comparisons with the Peloponnese, support this view. If Red-on-Whites thought to have ended much before the end of the Middle Neolithic period in Central Greece, it is hard to know how to fill the chronological gap in its. The statements in his latest survey (Weinberg 1970, 557-618) about the Early and Middle Neolithic in Central Greece appear to contradict his earlier conclusions, but there is some confusion in his use of the term “period” in both a chronological and cultural sense, to denote an assemblage of pottery, and the passages may not be intended to mean what they seem to.

Middle Neolithic This chronological period cannot be precisely defined in ceramic terms at Elateia, because there is no stratigraphic break in the trenches and no marked typological change that can be cross dated with the Peloponnesian sequence. It is characterised by a change in the slip, which is now a thick matt chalky white, and by more elaborate decorative patterns, but it is not possible to tell whether or not this development is contemporary with the transition to Urfirnis in the Peloponnese and to the first Sesklo phase in Thessaly (Elateia, pl. 67 a,d). Typological comparisons are discussed elsewhere, but they are not very helpful.

Bothros Hauptmann (1969, 42, n.158) questioned the stratigraphical purity of the Bothros. The reasons he gives cannot be discussed here, but they appear to rest on a misinterpretation of the stratigraphical account in Weinberg’s report. The simplest answer is that if he were right, one would expect contamination from the upper

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stratum by Matt Painted and Polychrome sherds, which is not the case. It is more reasonable to accept the Bothros as an uncontaminated deposit, especially since a similar group of wares was found in “the pit north of it” (Elateia,167) and in the Trench 2 1.20m to 1.60m stratum (Elateia,196). Unfortunately the report does not describe or illustrate most of the material from the different deposits, so that it is not possible to judge or comment on their typological affinities.

and a thick, dull, red-brown or brown slip like that on some “hybrid” or “variant Urfirnis” sherds. Like the latter, it is surely a development of Urfirnis, and to judge by its distribution, probably centred in this region (Weinberg 1970, 597). The shapes are limited to pedestal bowls, an open bowl with a wide flat rim, deep bowls and a shape which, from the photograph, appears to resemble the profile of 1965, fig.8: 2 or 3. These are all Late Neolithic shapes which occur at Corinth also in the Matt Painted and Black Wares, with the exception of the pedestal bowls of figs. 8, 7; 9; pl.58 d. g, which are closer to the Urfirnis profiles of Period II than to the Forum West examples I have seen. The latter have narrow-waisted pedestals and wide bowls, a shape which may also have been found in the Bothros, of course. But on the strength of the published profiles one would conclude that either the Period II shape lingers on in Boeotia, or the Bothros Black-on-Red is earlier than that at Forum West. In and case, in view of the great similarity of the painted decoration, they cannot be chronologically far apart.

Urfirnis The “very little” of it at Elateia was found scattered in the upper mixed levels and in the Bothros (Elateia, 180).Weinberg includes in the same category what he calls a “variant of it.” I have examined the ware, and a few pieces have great technical similarity to Urfirnis, especially the Boeotian Urfirnis, which is generally more smeary and lustreless than the Corinthian. It is very variable. The fabric may be identical to that of Urfirnis proper, or coarser and darker. The slip is brushed on, and ranges from a smeary mahogany or dark red, indistinguishable from some true Urfirnis, to a more usual red brown or dark brown slip, or both together, which may be thick. There is little doubt that the “variant,” like the Black-on-Red, is a development of Urfirnis; and from the distribution, its home is Central Greece. But the shapes and decoration are different from those of Urfirnis; it is what Walker-Kosmopoulos called “Hybrid ware,” and French “Brown Wash” (French 1972, 8). The only shapes in the Urfirnis and its variant wares are pedestal bowls, jars and incurved rim bowls. The first two may be Urfirnis and may have been found in the Bothros (we are not told), but none of the incurved rim bowls (Elateia, fig. 8: 1- 6) came from there; they were from the upper mixed level (Elateia, 181). The bowls have close Grey Ware parallels at Corinth, but nothing comparable was actually found in the Forum West deposits, and the shape is therefore considered to be later. If one excepts these bowls from Weinberg's Urfirnis category at Elateia, the repertoire of shapes is reduced to two or three, like that from Orchomenos. None of the other characteristic Corinthian profiles is found there. In short, since the Urfirnis at Elateia is so limited in quantity and only occurs together with Black-on-Red and Grey/Black Wares, it is indeed very probable, as Weinberg suggested, that it spread late to Central Greece, at the end of the Middle Neolithic, if not later.

Grey/Black Ware This ware was found in the same contexts as Urfirnis, including the upper mixed stratum, where it occurred with Matt Painted, Polychrome and “variant” wares (Elateia, 186f). Weinberg's category is therefore made up of types which span at least two of my Phases. The report does, in the case of this ware, make a distinction between the shapes and traits belonging to the Bothros and those of the upper mixed stratum. 1. Bothros shapes and traits which are also found in the Forum West deposits include the following (references are to Elateia illustrations): The pedestal bowl rim, fig.8: 10. The three bead-rim bowls, fig.11: 3.5.7. The pellet decoration, pl.62 c:6. The two Grey on Grey sherds, pl.62 a: 6-7. 2. Bothros shapes and traits for which I have not noticed convincing parallels at Forum West, are the following: The pedestal bowl, fig.8: 8. The carinated bowls, fig.10: 1-11. The hourglass handles, fig.10: 1,4,7, although a small unperforated example does occur on a Forum West collar jar. The bowl rim, fig.11: 8. The two bowls, fig.10: 1,3. are quite like Corinthian Grey shapes which I would consider to be later than the Forum West phase, but the rest, with their PatternBurnished (pl.60 d: 1) and painted (pl.62 a: 2-5) decoration, are virtually identical to the carinated Black bowls at Orchomenos. 3. Shapes and traits found in the upper mixed stratum which have close parallels in Corinthian Grey Ware re the following:

Black-on-Red Unlike Urfirnis this was well represented in the Bothros, and also occurred in the 1.20m - 1.60m stratum in Trench 2. The ware is discussed in the relevant section, but it may be emphasised here that the slip on which the matt black or dark brown painted decoration is applied can vary between a coating indistinguishable from true Urfirnis,

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

The pedestal bowl parts, fig.8, 9.11.12.13. The bead-rim bowls, fig.11:1,2,4. The “rare” rippling, 188: pl.61 b:1. The pedestal bowl with a faceted lip.

represents a phase preceding the appearance of Matt Painted at Elateia. This is reasonable, because the large size of the Bothros and the “masses of pottery”(Elateia, 165) found in it, are guarantee enough that the absence of Matt Painted sherds was not fortuitous. It is clear that the ware was not in use, or at least in significant amounts, at the time of the Bothros fill, but it raises an interesting problem concerning the date of its arrival in Central Greece.

The last two traits are so typical of Corinthia and so rare elsewhere that they could be taken for imports. The Grey/Black pottery group from the Bothros is perhaps best regarded as belonging to a local Central Greek tradition which exhibits fewer cultural links than the other Bothros wares with Corinthia. The presence of the two Grey on Grey sherds, in view of their great scarcity south of Thessaly, is probably more significant for chronological comparisons than the typological differences of the carinated bowls noted above.

The simplest answer is that the Bothros phase is slightly earlier than the Forum West phase, and that Matt Painted ware arrived in Central Greece slightly later than at Corinth. We do not know how long it took for Matt Painted ware to become such an important element of the Forum West assemblage. The absence of known transition deposits everywhere except at Franchthi, and perhaps at Eutresis (discussed later), may imply that it was not very long. The virtual identity of the painted patterns on the Black-on-Red pedestal bowls at both sites also implies that they were at least somewhat earlier. Since we cannot estimate the chronological significance (if in fact it is chronological and not geographical) of these typological factors, we cannot say how much earlier the Bothros phase may be, nor how long the delay before Matt Painted reached Elateia. But the conclusion that there was some time lag would seem to be inescapable.

Rhyta A number of fragments were found in the Bothros (Elateia, 190-193; fig.12; pls. 63-65). They are most characteristic of the Forum West deposit, where well over fifty pieces must have been found in this one excavation. They are discussed in more detail later; here we are only concerned with their role as a cultural and chronological link between Corinth and Elateia. The other late wares are unstratified and need no further mention at this point, apart from noting that none of them appears to be later than Period III. A ware analogous to the Gonia-Klenia Polychrome is known in Central Greece (e.g. Orchomenos, pls. II: 3; IV: 2.5), but very little of this class was found at Elateia (Elateia, 198). This suggests that occupation there ended at the time this ware was flourishing in Corinthia, that is towards the end of Period III Late Phase.

Franchthi Cave

Bothros Chronology

It is the only stratified site in Greece with apparently a complete climatic and archaeological sequence, beginning at the end of the Pleistocene and continuing until the end of the Neolithic. The pottery has been published in great detail (Vitelli 1993, 1999: hereafter Franchthi I and Franchthi II). The importance of Franchthi for the Neolithic sequence is due partly to the fact that it is the only site with Mesolithic-Neolithic levels, a complete stratified record of all phases of the Middle Neolithic and a continuous transition from Middle to Late Neolithic. For all periods, including the disturbed Final Neolithic levels, it has produced a wealth of new and complete profiles, and evidence for trade or cultural contacts with other places.

The cave is a great hole on the west side of an enclosed bay, further protected by an island close to the entrance. There is a spring inside the cave and others outside it. They emerge just below the present surface of the sea, and a slightly lower relative sea-level would expose them, as well as considerably increasing the area of the small cultivable plain at the head of the bay.

The purpose of this rather detailed account of the Bothros contents has been to try and show that taken as a whole, and with one exception, it agrees reasonably well with the assemblage from Forum West, particularly in the presence in both deposits of the diagnostic Rhyta, Black-on-Red, and Grey on Grey. Some of the Grey/Black shapes from the Bothros might seem typologically rather later than the Forum West phase, while the Black-on-Red pedestal bowls look earlier. One may give what weight one chooses to these typological factors; the causes may be geographical and not chronological. They do not, however, seem to me to outweigh the other evidence in favour of a fair degree of contemporaneity.

What follow are my original provisional comments, based on brief inspections of samples of the excavated material and on the verbal information kindly vouchsafed by the excavators. They are now, of course, superseded, but I leave them more or less unchanged in the hope that they

The one exception is the absence from the Bothros of Matt Painted ware, since this is predominant at Forum West. The excavator's explanation is that the Bothros

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

may serve as a short simplified outline, and because my standardised traditional categories may make inter-site comparisons easier. I have not tried to match them with Dr Vitelli's much more scientific and meticulous methodology in her publication, whose purpose, "to address questions about human behaviour" (Vitelli 1993, xx), was quite different from mine. I have, however, referred to the drawings used in both publications, many of which are hers and which she generously allowed me to use.

percentages of types, from that at Corinth or in the Argolida plain. The pale, very fine buff or light red fabric is very rare, as are the knife-edge rim bowls so characteristic elsewhere. The few examples that exist stand out from the rest of the pottery. Clay sources could account for the difference in fabric, but not for the different forms. There is a higher proportion of the medium coarse fabric, and the burnished surfaces show the tool strokes clearly; shape fig. 4: 11 is common. Fine wares are present, but in small quantities. The differences may reflect a difference in the local way of life or simply its independent development, since it is comparatively distant from the main centres to the west. We shall see other differences between sites as close as Nemea and Corinth. Painted sherds, both solid and linear, occur in the lowest unit, which cannot therefore be assigned to the earliest phase of Period I.

Early Neolithic According to Jacobsen 1969 and 1973, the earliest Neolithic stratum was distinguished from the Mesolithic levels below by the appearance of (probably) domesticated sheep/goat and small bovid bones, while the chipped stone industry apparently continued with little change other than the addition of obsidian blades to the repertoire of types. No Aceramic Neolithic was apparent (Franchthi I, 39).

Middle Neolithic The Middle Neolithic Urfirnis at Franchthi was the subject of a doctoral thesis by Dr Vitelli (Vitelli 1974). The I - II transition is less clearly defined at Franchthi (Franchthi I, xix) than at Lerna, and the deposits of the early phases appear to be more compressed. Vitelli (Franchthi I, 49) defines the Middle Neolithic by the appearance of Urfirnis, like Weinberg and Kunze, but unlike Jacobsen, who began his Middle Neolithic period with the appearance of what I have called smeared slip ware, which I have put in the last phase of Period I. In the middle phase decorated ware accounts for some 20% of the total; stroke-burnished ware was present, but in insignificant amounts (Jacobsen 1969, 366-7). By the end of the late phase the proportions of Stroke Burnished and painted wares were reversed (personal information).

In the two trenches nearest to the entrance, G/G1 and H, pottery was found to accompany the faunal changes, while in the two inner trenches, A and F/F1, there was an intervening stratum without pottery. Two interpretations are possible: the first is that the Mesolithic occupants of the cave developed or acquired a pastoral economy, but did not immediately take up potting. The second is that small numbers of farmer-pastoralists occupied the cave, and that their ceramic remains were too scanty or too localised within the cave to appear everywhere in the same stratum. The area explored at this depth was too small for the evidence to be conclusive. It is a fact, however, that EN cave occupation is uncommon in Greece, and no doubt followed a first settlement on the Paralia outside the cave.

Late Neolithic The EN stratum in the four trenches, besides being limited in area, was thin in depth, and consequently the quantity of material recovered was too small for Vitelli to subphase it (Franchthi I, 25, 41-48). I was able to examine the material from trench H 37, where the early deposits had been most carefully excavated, and it appears to confirm the sequence at Lerna. The units examined were those between H 37 Z, early Period II, and H 37º, the lowest Period I level. The bottom five units resemble the lowest Lerna groups; the first transition sherds occur in unit P, and the first two or three chips of true Urfirnis appear in unit O. In H, Urfirnis predominates. The units are digging spits, not stratigraphic levels marked by floors, but they serve to illustrate the progressive development, shown by the appearance of new types and the changing proportions of wares.

A carefully controlled excavation in 1971 (Vitelli 1974, 119-120, 124f) appeared, from the information given me by the excavators, to amplify and confirm the preliminary account. The five main strata in trench F/FA/F1 extend from the surface well down into the Middle Neolithic, Stratum V, with 3% stroke-burnished, falling in the middle phase. In IV stroke-burnished rises to 17%, decorated falls to 3%, and plain Urfirnis accounts for some 70%. In the second half of IV, Black Ware appears, apparently rather suddenly, and reaches its peak, and there is a trace of Matt Painted. In III b the proportions of the Urfirnis seem to be about the same, the Black Ware peak continues, there is more Matt Painted and the first few sherds of Grey Ware. In III a Urfirnis remains the same, Black Ware has become insignificant, Matt Painted peaks and there is a little more Grey Ware, but this remains rare at Franchthi. By II Urfirnis has dropped to around 17%, there are traces of Black and Grey Wares, and still some

If the sequence at Franchthi roughly parallels that at Lerna, the pottery is rather different in fabric and in

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Matt Painted. Even in the first stratum Urfirnis constitutes about 12% of the total. These figures are not complete (see Franchthi II), but within this context may serve to give a rough picture of the Late Neolithic at Franchthi. Final Neolithic wares and types, such as Crusted ware, elephant lugs and Pattern-burnished ware, are found in the surface stratum, with still a little Urfirnis.

wares which are present and characteristic of the site. Blegen 1930-1931, 55-80. Kephalari This is a lofty but not extensive cave with a partly fallen roof beside a great spring that gushes out of the foot of a steep cliff as a small, fully formed river. It was occupied intermittently from the Mesolithic Period onwards. Apart from a possible EN sherd found in the recent German sondage (Felsch 1973), the rest of the Neolithic material belongs to an advanced stage of Period II and part of Period III. The bulk of the Urfirnis sherds are of the late Stroke-Burnished kind known from Franchthi and Kouphovouno, but rare, and only in the upper levels, at Lerna (Felsch 1971). Occupation would seem to begin in earnest at Kephalari when the Middle Neolithic sequence at Lerna is coming to an end.

The persistence of Urfirnis throughout the strata is perplexing and perhaps best attributed to pit digging and disturbances by the later occupants; such pits need not, after all, coincide with the excavators' trenches. Cave excavation presents special problems, as a meticulous cave excavator pointed out (Lambert 1972, 819) and cave deposits are subject to considerable mixing and disturbances (cf. Franchthi I and II, passim). Nevertheless the deeper levels are probably more secure, since contamination rises more easily than it falls, and even if one cautiously reduces slightly the Urfirnis component, it is hard to doubt that at Franchthi Black Ware appears and peaks while Matt Painted is still in its infancy, that it precedes Grey Ware, and that Urfirnis continues to exist alongside Matt Painted. The last two conclusions are supported by the evidence already cited from Corinth, where there is as yet no excavated evidence for the first.

Klenia The cave penetrates deep into the mountainside through a series of steeply sloping chambers,. In the lowest there are permanent pools of water and a probable spring or source at the very end. There are a dozen large boxes containing a quantity of Neolithic, some Middle and Late Helladic, Classical and later material, but nothing which could be attributed surely to the Early Bronze Age. The earliest sherds are Urfirnis, and most of them appears to be late, although a few could be earlier; the finish is generally dull, and much of it is Stroke Burnished. A number of sherds combine the Matt Painted and Urfirnis techniques. The repertoire of shapes is curiously limited and may reflect the nature of the habitation. Globular closed bowls and steep-sided open convex bowls on low ring feet are commonest, and there are fragments of several miniature low-collar jars, or pyxides, of the sort common in the upper Lerna II levels. There are no carinated shapes, high pedestals, or medium or high collar jars. There are very few piriform jars, open shallow bowl rims, or painted sherds, and they are of the simplest patterns. Husking bowl fragments are relatively frequent. Perhaps the cave was used occasionally in Period II by local farmers or pastoralists, but if Urfirnis carries on into III, as seems probable from other evidence, much of it could belong to that Period.

Gonia I have examined the material with some care. It was stored in separate boxes according to trench and level, and Neolithic sherds occurred in appreciable amounts in four of the trenches. There is a general tendency for the proportions of different wares to change from top to bottom, but not with enough consistency to allow of any useful stratigraphic observations. The characteristic Polychrome sherds are found throughout, mixed with EH in the upper levels. Certain chronological inferences, however, can be drawn from the absence or scarcity of certain wares from all the levels. I saw no EN sherds, and Urfirnis is uncommon and of a quality appropriate to a late II or early III phase. There is much Stroke Burnished Red Slip and a kind of Black-on-Red, but different from and later than that from Forum West. Black and Grey Wares are also uncommon and different from those in the Temple Hill and Forum West deposits. Matt Painted ware is common, especially of the finer sort, which is not found at Forum West and which is closely related to and no doubt contemporary with the Polychrome. There is no Prosymna Incised, and only a sherd or two of the late Red Pattern Burnish, no material comparable with the Agora, and no heavy late burnished ware or Rolled-Rim bowls. There is a little EH I of a developed kind and EH II.

The rest of the Neolithic includes most of the usual III and IV wares and types, including those that are found at Gonia as well as others which are not. The local Polychrome, which must be contemporary with the Gonia variety, has a distinctive character or its own.

It therefore appears that occupation was slight before an advanced stage of Period III, and ceased at the beginning of Period IV, not to start again until towards the end of EH I. This helps to locate the chronological position of those

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

fig.1),and the deepest EN pits into virgin soil reach down below the present water table. To avoid destroying the Early Helladic structures, deep soundings into the Neolithic levels were limited to four places, Area J, and Pits BD, BE and AP.

Kouphovouno The trench made by O.-W. von Vacano in 1941 is still open, although the bottom has partly silted up. It is not large, perhaps 4 by 4 metres, and may have been three metres deep. The earliest settlement seems to have taken place at some time in Period II.; there are shapes and decoration characteristic of the Middle Phase. A great deal of the material is stroke-burnished, as at Franchthi, although the firnis is duller and the strokes less conspicuous, and most of it probably belongs to the Late Phase. Until the Franchthi excavation produced stratified quantities of this ware, it had been doubtful whether the Stroke-Firnis represented a different chronological phase or was only an outlying local version of the usual Urfirnis. There is some White Ware, which seems to be local, and some Late Neolithic Matt Painted and Black/Grey sherds, but I saw nothing that was certainly Final Neolithic, although some of the undiagnostic coarse plain wares could be. EH I and includes incised handles like those from the Kastraki deposit on Kythera (Coldstream 1972, pl.17: 53-57), and matt-impressed bases and scored ware. Two spherical maceheads, one of white marble, the other thickly encrusted, and what looks like a lamp, also of marble and much blackened around the edge of the hollow, may be of this period. From the quantity of well preserved EH II fragments and whole vessels, it is clear that the site must have flourished in this period as well. The occupants, unfortunately it is not known during which period or periods, were much concerned with stone working. Celts of every kind are exceedingly abundant; a large box of them survives from the excavation, and cf. Waterhouse & Hope Simpson 1960, 72-7. Obsidian and flint tools and cores are abundant; seven flint and ten obsidian arrowheads of different types were found, as well as serrated obsidian blades and marine shells. See also Waterhouse & Simpson 1960, 72-74; Demakopoulou 1966, pl. 150 a,b.

Early Neolithic: Lerna I In Area J the Early was separated from the Middle Neolithic strata by a thin pebble layer over most of the trench. Below this “three or four floors could be distinguished with difficulty,” some with bothroi, but no walls were found (1957, 16, fig. 5). In Pit BD the sequence was similar (1958, 138). In BE the layers of different coloured earths with loose stones and patches of hearths implied fill or wash rather than habitation accumulation (1958, 139). Only in Pit AP were there three strata with stone wall foundations (1958, 139). Professor Caskey kindly allowed me to examine the material as it was finally sorted and grouped by trench and stratum for the forthcoming publication (and cf. Vitelli 1974, 38-40, Table 2). There were four strata in J and two in each of the other two trenches. Four of the groups of pottery from these strata appear to be pure Early Phase, in that they contain none of the types or traits I have used to define the Late or Transition Phase, and they are quantitatively small. They closely parallel the Nemea material and I have used them to some extent as a stratigraphical control for my subdivisions of the EN there. At Lerna, as a Franchthi, the quantity of Early Phase material is insufficient to allow of a further subdivision, even if the site had been occupied at a very early date, which, from the thinness of the deposits, is doubtful. The Late transition Phase is very well documented. Some groups have mainly Early Phase with few Late sherds; others are predominantly Late with little Early; while others contain Period I and II wares together. Middle Neolithic: Lerna II

Since the above was written, Josette Renard has published the original report of the excavation with von Vacano’s full cooperation (Renard 1989), and the BSA in collaboration with the 5th Ephorate of Prehistoric and Classical Antiquities has begun a campaign of excavation at the site (Blackman 2000). The von Vacano trench which I saw in about 1969 is no longer visible.

In Area J, above the pebble layer, eight building levels marked by floors and walls were distinguished; one floor had a fine clay-lined bothros (1957, 156-7; fig.5). In Pit BD there was a similar sequence, and in BE five building levels were found. At the top, the Neolithic was separated from the Early Helladic by a layer of mixed fill, which was also found at other places on the site. In the uppermost J-C level a few sherds of Matt Painted and Crusted wares occurred, and two burials (1959, 204-5). There was another burial in HTN. The pottery associated with the burials is like that of the Kea-Kephala culture (1968, 314f), in other words belonging to the Final Neolithic and far removed in time from the level into which the burials were dug. The dozen or so Grey and the few Black sherds came from the top of Lerna II. Two unusual Matt Polychrome sherds from the same vessel were found in the topmost undisturbed Middle Neolithic

Lerna Lerna is the only site in the Peloponnese that might be described as a tell, although a poor one by northern standards. The earliest settlement was on what must have been a low rise, close to the sea and to an abundant spring. Only a small area near the top of the mound has been excavated, although trial trenches were put down at various points around the perimeter (Caskey 1957,

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

level in J (1959, 159; pl.48: a, c), but they also belong to a Late Neolithic phase and must surely be instructive. For the transition from phases II to III Lerna affords no evidence.

The upper strata from area J show a considerable increase in the use of stroke-burnishing, which had started somewhat earlier, but the technique and appearance are not yet quite like the characteristic Franchthi “StrokeFirnis” of the Late Phase. Three or four sherds of this kind appear in J-G, the latest stratified group of Lerna II, including two which are pattern decorated. There are some other examples from trench HTN and Area B, both Late In J-D two or three all black sherds appeared for the first time; the fabric is Urfirnis, but black all through, and the black surface has been burnished like that of some red slip sherds. The shapes are Urfirnis (fig. 15:2). In the highest group from J: mixed fill, the material consists mainly of Urfirnis, including some Stroke-firnis pieces, with a little EN, Matt Painted, and two incised Black sherds.

The excavator commenting, on the pottery of the eight building levels, wrote that besides the Urfirnis ware there were vessels with a thicker slip, usually red-brown but sometimes grey, and thoroughly burnished (1957, 159); this ware occurs especially in the earlier phases (1958, 137), but was also found in small quantities in the upper three J-A levels (1956, 170). Of the Urfirnis he says that a development in the style and quality of the decoration was discernible, and that the upper strata were characterised by carinated bowls, piriform jugs and pedestals with pricked decoration (1958, 137: pl.36 f, g, h.; 38 c, d, e,.f). Three collar jars from three different strata are also illustrated (1958, pl.37 d, e, f). The fine small carinated bowl containing an infant burial came from the fourth building floor down. Finally, in the upper strata most of the pottery is monochrome (1957, 159).

The rarity of Stroke-firnis, Matt Painted, Grey and Black Wares shows that the third phase of II is virtually nonexistent, and that the subsequent Periods are barely represented at Lerna. Caskey has suggested that EH levelling was responsible, and it is of course possible that excavation elsewhere on the mound might reveal more of these wares. But the mound is very extensive in area, and on the present evidence it is easier to assume that occupation declined sharply after the middle phase of II and that it was thereafter inhabited sparsely or intermittently until EH II. Much the same thing seems to have happened at a number of other sites in the west Peloponnese. In any case the result is the same for a typological study of the pottery sequence; all the Middle Neolithic types present may be safely attributed to the first two phases, whether or not some of them also continue into the third phase.

Having looked at the material in some detail, I would add the following comments, bearing in mind that the lots or groups represent the amalgamation of a larger number of excavated levels after some of the featureless sherds had been discarded. First of all, in two or three of the upper Lerna I groups, disregarding an occasional intrusive full Urfirnis piece, there are some sherds which, from their finish or shape, are typologically more at home in early Period II (e.g. 17 h; 18 e). Secondly, in the group marked “J. Pebble Layer,” in addition to Late Period I and Early Period II material, there are many sherds that cannot be assigned categorically to either Period on grounds of ware or shape, and they resemble the material from the Babbius Monument trenches at Corinth already mentioned. This level marks the last appearance of most Period I, and the first appearance of many Period II features. Among the latter are black, olive-grey and deep red varieties of the red-brown slip, and black, brown and red varieties of Urfirnis proper.

Late and Final Neolithic Except for the two Polychrome sherds referred to, the material all came from the upper mixed stratum, in which EH II sherds were also found. I have not examined the finds in detail and cannot tell if all the phases are represented, but the Polychrome, Grey and some of the Black Wares belong to an advanced stage of III, and the pots from the burials to Period IV. The ware and some of the shapes of the latter have their closest parallels in the Attic-Kephala pottery (cf. Caskey 1968, 314 f). And sherds of large coarse vessels with cordon decoration and perforated rims, from B, are like some from Alepotrypa.

In the first Lerna II stratum above the Pebble Layer, J-A, there is a sharp decrease in Period I wares and a corresponding increase in the red slipped ware and its black and dusky variations. This is still sometimes burnished, but the burnishing is noticeably different from that of the EN ware. The earlier wares, which continue in small quantities, include the find buff and black monochrome, the cherry or orange slip and pink, the smeary slip and spongy ware.

Nemea

By J-B Period I wares have virtually disappeared and there is very little spongy ware. The red or red-brown slip is still commonest, but there is more of the black, dark and mahogany Urfirnis.

There are some sixty or seventy large drawers of material from the excavations, most of it belonging to Period I. There are rare Urfirnis sherds in some drawers, including a large fragment of a storage jar, the provenance of which

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

is doubtful, but they are so few that it is clear the settlement had begun to decline towards the end of I and had dwindled into insignificance early in II. There is a fair amount of late I material, including one or two painted sherds which are on the typological boundary between the periods, but they represent a small fraction of the total. The percentage of painted sherds, Red-on-Buff or Redon-White, is tiny. The considerable age of the settlement is attested by the depth of the deposits in the collapsed cave, since the cave itself was too small to have housed many people, and in any case cave occupation is not typical of the Early Neolithic. As on most EN sites, there is a monotonous uniformity about the material, but it might be that a detailed analysis of all of it, in conjunction with the excavation notes, could isolate an early phase which, by analogy with Elateia, should be present (Elateia).3 For want of any stratigraphic evidence, I was limited to identifying the wares which, on grounds of fabric and finish, should be late transition, and to indicating the shapes and decoration which typologically could be earlier, with the proviso that early types no doubt persisted alongside the later. Subsequent examination of the more limited but well stratified material from Lerna (qv), which bridges the transition between the two periods, confirmed the division (for a more detailed description, see p, 18).

Group II was made up of four or five baskets of sherds. One cannot of course be sure that they are all contemporary, but it is likely, since only one kind of fine ware, the Polychrome, was present, and it is the only deposit in which it was found alone. The bulk of the pottery was coarse ware from large vessels, of a brownish-black colour. Among the traits are ring feet; plain ledge, indented, scalloped and crescent lugs; flat or concave topped knobs; dimpled knobs; long thin, and medium wide strap handles (fig. 623). The decoration of the larger vessels was by dimpled cordon, and one sherd has a plastic spiraloid motif. “A fair amount” of the coarse sherds was decorated with incision, for the most part roughly executed, although one of them looks neat enough (fig. 627). The pattern of chevrons or alternating groups of oblique lines is confined to a more or less wide band around the rim. There are no profiles on this ware, but to judge by the photographs the incised rims appear to come from simple convex open or closed bowls. The characteristic ware is the Polychrome, of which there was “a considerable amount” (figs. 628 - 631; pl. III: 3, 4). The shapes and decoration are virtually identical to much of the Gonia and not to the Klenia Polychrome, although the latter site is closer. Group III is made up of some four baskets of sherds from three places, two of them being only small deposits. Most of them were from large thick vessels, burnished red, brown or black (fig. 632). There was a little red monochrome, which was “not distinctive,” and which Blegen equated with the early red monochrome. Since burnished Red Slip bowls with tapered lips are characteristic of the latest Neolithic, with which Blegen would probably not have been familiar, and since there is nothing in the deposit remotely EN, it is safe to assume that the burnished red ware is of the late kind, or represents an undecorated form of the Pattern Burnished ware. It is significant that he noted fine Black among the material.

Prosymna Blegen told me that the material from the 1925-1937 excavations had been stored in the National Museum, but it could not be found in 1972. This is the more a pity because two of the pottery groups seem to have come from small closed deposits of very limited duration, and while the fine wares from them were adequately described and illustrated, the coarse and plain wares accompanying them were not. A knowledge of their shapes might help to date some of the unstratified similar wares from Klenia and Alepotrypa. The first pottery group came from a small collapsed cave in the Area about the Graves. Blegen distinguished several strata, but they seem not to have had much chronological significance, since in his publication he divides up the material typologically and includes both Middle and Late Neolithic wares in the one category A, and the decorated Urfirnis in B. The group spans late I to early III. To the latter belong the Matt Painted (Fig. 623: 9-15) and the Grey /Black Wares (Figs. 621; 622). From the shapes and from the absence of specific mention of the silvery grey colour so typical of the Corinthian Grey, it is probable that the Grey/Black Ware belongs to the Forum West rather than the Temple Hill group, and this is perhaps supported by the absence of any sort of Polychrome.

There were twelve sherds (only) with bands of fine incised decoration on the rims of bowls with tapered and slightly everted lips (fig. 633), a ware which has been found at Corinth and Klenia and will be referred to as Prosymna Incised. There were a few sherds of coarse painted ware with plain cordons (fig. 634), of which there is a quantity at Klenia. And finally there was the Red Pattern Burnished ware (fig. 635), the shapes and patterns of which are very close to those of the Incised sherds. The twin pellets of fig. 635: 9 have their counterpart in the plain ware fig. 632: 2; as this is an uncommon trait at any time in the Peloponnese, it implies that some at least of the plain wares are probably contemporary. I have assumed that Groups II and III represent single and distinct phases. There is no evidence from Prosymna to

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

show which is the earlier, although the similarity of the incised wares from both Groups, and the closeness of the shapes of the Polychrome and Pattern Burnished bowls suggest that they may not be far apart in time. Their chronology will be discussed later.

stand in parts up to 1.80 m high, but much of the site was later built over by a Late Helladic settlement. It is outstanding for the huge collared pithoi, one at least 90 cm tall, the many complete pots of all sizes on display in the Tripolis Museum and the many unusually large figurines. The wares include Grey on Grey, Matt painted on white slip, like Alepotrypa, Pattern Burnished and Red-on-White-Crusted. None of the material has so far been published, but it is mentioned in AR 46, 40-41 and there are a few illustrations in Spyropoulos 1991 and 2000.

Sakovouni This large important Final Neolithic and EH I site on a hill near Kamenitsa in Arcadia, was excavated in 1982 and after by Theodoros and George Spyropoulos. The walls

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

DETAILED LIST OF CONTENTS

Dippers & Ladles, Miscellaneous ...... 53 Stone Bowls (see under Period I) ...... 42 Figurines ................................................. 53 Legs ......................................................... 54 Rims, bases, pedestals .......................... 55 Pedestals, lugs, handles ....................... 55 Painted decoration ................................ 56 Pattern-Burnish ...................................... 59 Plastic, Incised, Impressed .................. 60 Potters Marks ......................................... 60 Mainland Distribution of Urfirnis ...... 61 Summary and Conclusion ................... 64

(1975 Thesis page nos. in italics) This is in lieu of an index. It is intended to help the reader who is looking for some particular aspect to find it quickly. SITES AND EVIDENCE Akrata ...................................................... 12 Alepotrypa .............................................. 12 Asea ......................................................... 13 Ayioryitika .............................................. 14 Corinth .................................................... 14 Elateia ..................................................... 15 Bothros Chronology ............................. 18 Franchthi Cave ...................................... 18 Gonia ....................................................... 20 Kefalari ................................................... 20 Klenia ...................................................... 20 Koufovouno ........................................... 21 Lerna ....................................................... 21 Nemea ..................................................... 22 Prosymna ................................................ 23 Sakovouni ............................................... 24 CATALOGUE OF WARES & TYPES Method, Shapes, Abbreviations .......... 27

29 49 47 46 24 53 62 35 30 46 32 48 40 31 33

100 103 107 109 114 115

PERIOD II: MIDDLE NEOLITHIC Introduction ............................................ 44 MN Site List .......................................... 45 Fabric ...................................................... 45 White Ware ............................................ 46 Finish ....................................................... 46 Period II Shapes .................................... 48 Husking Bowls ...................................... 53

124 125 126 132 147

149 152 154 156 158 167 168 170 see p. 60 172 181

PERIODS III & IV: LATE & FINAL NEOLITHIC Introduction ............................................ 65 184 Site list .................................................... 65 186 PERIOD III: SHAPES AND WARES Urfirnis .................................................... 66 Hybrid Ware ........................................... 66 Hybrid ware chronology ...................... 67 Black-on-Red ......................................... 67 Shapes ..................................................... 67 Decoration .............................................. 68 Distribution ............................................ 68 Discussion .............................................. 69 Chronology ............................................ 69 Black Ware ............................................. 70 Pedestal Bowls ...................................... 70 Shoulder Bowls ..................................... 71 Carinated Shapes ................................... 72 Collar Bowls .......................................... 72 Piriform Jars .......................................... 72 Collar Jars .............................................. 73 Bases, Pedestals, Lugs, Handles ........ 73 Lugs, Handles ........................................ 73 Misc: Anthropomorphic Handle ......... 73 Decoration of Black Ware ................... 74 White Paint ............................................ 74 Pattern-Burnish ...................................... 74 Incision & Grooving ............................ 74 Rippling .................................................. 75 Rib and Bead ......................................... 75 Plastic ...................................................... 75 Scratch-Crusted ..................................... 75 “ “ Chronology ............... 75 Distribution of Black Ware ................. 76 Red Slip .................................................. 77 Grey Ware .............................................. 77 Pedestal Bowls ...................................... 77 Carinated Bowls .................................... 79 Platters .................................................... 79 Collar Bowls .......................................... 80

64

PERIOD I: EARLY NEOLITHIC Introduction ............................................ 29 EN site list .............................................. 30 Fabric ...................................................... 30 Finish ....................................................... 31 Late Phase characteristics .................... 31 Period I Shapes ...................................... 32 Spouted Bowls ....................................... 35 Askoi ....................................................... 35 Crucibloid Vessels ................................ 35 Husking Bowls, Spoons, Legs ............ 35 Period I Special Features ..................... 36 Painted Decoration ............................... 38 Late Phase characteristics .................... 39 Comparisons with the North ............... 40 Plastic and Incised Decoration ........... 41 Stone vessels .......................................... 42 Summary and Comment ...................... 43

147

72 75 76 80 88 89 90 91

25

188 189 190 191 191 193 194 194 197 199 200 203 203 206 206 206 208 208 209 209 210 211 212 212 212 213 213 214 215 219 220 221 225 226 228

see p. 67

see p. 72 see p. 72

see p. 80

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Piriform Jars .......................................... 80 Collar Jars .............................................. 80 Lugs, Handles, Spout ........................... 80 Rhyton ..................................................... 81 Decoration of Grey Ware ..................... 81 Plastic ...................................................... 81 Painted .................................................... 81 Incised ..................................................... 81 Grooved .................................................. 81 Rippling & Fluting ............................... 82 Distribution of Grey Ware ................... 82 Grey Ware Chronology and Origins .. 84 Summary of Evidence: Stratigraphic 84 Chronology ............................................ 85 Origins .................................................... 85 Grey on Grey ......................................... 85 Rhyta ....................................................... 86 Distribution of Rhyta ........................... 87 Matt Painted Ware ................................ 87 Matt Painted: Surface Colours ........... 88 Shapes ..................................................... 88 Shoulder Bowls ..................................... 90 Carinated Bowls .................................... 90 Piriform Jars .......................................... 91 Collar Jars .............................................. 91 Lugs, Handles, Bases ........................... 92 Pedestals ................................................. 92 Lids, Spoons, Dippers .......................... 93 Decoration .............................................. 93 Parallels .................................................. 94 Origins .................................................... 95 Polychrome Ware .................................. 96 Fabric and pink ...................................... 96 Shapes ..................................................... 97 Decoration .............................................. 98 Stylistic differences: summary ........... 99 Parallels ................................................ 100 Chronology .......................................... 101 Gonia Red Pattern-Burnished Ware 102 Coarse Wares ....................................... 102 Dot-Incised Ware ................................ 103

228 229 229 231 231 231 232 232 232 233 234 239 240 241 241 243 245 248 249 252 252 256 257 261 see p. 91 261 262 263 264 265 270 272 275 276 277 280 283 285 290 290 292 293

PERIOD IV: FINAL NEOLITHIC Introduction .......................................... 103 Site List ................................................. 104 Prosymna Incised Ware ..................... 105 Prosymna Incised Distribution ......... 106 Prosymna Incised Chronology ......... 106 Stroke-and Pattern-Burnished Wares 106 Shapes ................................................... 106 Decoration ............................................ 107 Distribution .......................................... 107 Chronology & Summary ................... 108 Crusted Ware ....................................... 108 Shapes ................................................... 109 Decoration ............................................ 110 Distribution .......................................... 110 Chronology & Summary ................... 111 Painted Wares, not Crusted ............... 111 White-on-Red ...................................... 111 Red-on-White ...................................... 112 Monochrome and Coarse Wares ...... 112 Early Phase Shapes ............................. 112 Lugs & Handles .................................. 113 Scoops ................................................... 114 Early and/or Late Phase Shapes ....... 114 Baking Pans ......................................... 115 Plastic decoration ................................ 116 Patterns ................................................. 116 Late Phase Shapes .............................. 117 Rolled-Rim Bowls .............................. 118 Peloponnesian Distribution ............... 118 Large Coarse Vessels .......................... 118 Lugs, Handles ...................................... 119 Matt and Straw Impressions ............. 120 Metal finds from Alepotrypa ............ 168 Mainland Parallels .............................. 120 Summary .............................................. 121 Chronology .......................................... 123 Origins and Conclusions [Summary] 124

26

296 297 300 301 302 304 304 306 307 309 310 311 313 314 317 318 318 319 320 321 324 326 327 329 331 333 335 337 338 338 341 342 see p. 168 342 see p. 120 345 350 351

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

CATALOGUE OF WARES AND TYPES

latter being closed vessels with some sort of distinct collar, neck or offset rim. Bowls may be open or closed, shallow, medium or deep, and are further distinguished by their degree of openness, their rims or other morphological features. These are all explained in their context. The purpose of these detailed, somewhat cumbersome morphological subdivisions is primarily to convey some idea of the proportions of the types within a class; but no description can ever replace a good illustration.

Method The Catalogue has been divided into four sections corresponding to my four Periods. A ware that occurs in more than one Period is generally only described under the Period in which it is more characteristic. A brief explanation of the way shapes have been classified is called for at this point. The purpose of the classification was to enable a quick, simple typological comparison to be made between the artefacts of different sites and cultures. It was intended to form a basis for other more abstract, theoretical and speculative studies of the cultures.

To save space and time, some of the descriptive terms are abbreviated as follows: B = Bowl; O = Open; C = Closed. The proportions of bowls are indicated as follows: S = Shallow: overall height less than 1/2 diameter; M = Medium: overall height more or less 1/2 diameter; D = Deep: overall height greater than diameter.

A serial number or code for each shape, although ideal for material from one period or site, is impractical in a broad survey such as this. On the other hand minor variations of shape are important for distinguishing chronological and geographical relationships, and a system using only a few general categories is inadequate: the significant nuances are masked. It is these last that differentiate two superficially similar assemblages of pottery, and cultural differences are in many cases more informative than their similarities when the origins and development of obviously related communities or cultures are under study.

The numbers used with the Open Bowl classes give a rough indication of their degree of openness, in other words the angle made by the rim-line with the upper wall of the bowl: 0 = ca. 90 degrees; 1 = ca. 80-50 degrees; 2 = ca. 50-40 degrees; 3 = less than 40 degrees. For example: O.B.S.Convex 1 is an open moderately shallow bowl with a curved wall, like fig. 1: 1. Convex = a more or less evenly curved wall, approaching the spherical. Piriform = S-profile wall Straight = a straight wall Shoulder = a fairly abrupt, but not angular, bend in the wall. Carinated = a more or less sharp-angled bend in the wall, separating rim and side, or side and bottom. Collar Jars are arbitrarily classified by the height of the collar and its direction: Low = less than 0.025m high; Medium = from 0.025 to 0.050m high; High = over 0.050m in height; and the collars may be inverted, vertical or everted.

None of the many systems proposed over the years is wholly satisfactory, but the one adopted here suited my approach to the subject better than others that I considered, and it combines a degree of flexibility with as much precision as seemed appropriate to the material. The question of precision is pertinent, because when one is dealing with thousands of fragmentary sherds it is obviously impossible to establish the original shape of most of the pots they came from with great accuracy. Assigning them to a particular category is often a matter of personal judgement or feel (cf. Franchthi I, xx), and what is important here is not certainty but consistency. It cannot be proved that a certain sherd belongs to a particular shape, but if all other sherds having the same characteristics are assigned to the same category, they form a class which is sufficiently valid for comparative purposes. This calls for a careful appraisal of each sherd, including its angle and diameter, but the final decision on its place in the typological system inevitably remains subjective. I may have over subdivided some of the subclasses of shapes and types, but it is easier to lump than to split.

Finish and decoration Many terms are or have been used by different archaeologists to describe the finishing techniques employed by prehistoric potters. These are a few common terms as used here: Smoothed: surface irregularities and tool marks largely or completely eliminated, leaving a matt surface. Slurry finish: wet-smoothed or self-slip. Produces a smooth matt surface, different in appearance from the Smoothed. Slipped: given an additional coating of clay, which may

Shapes Apart from a few minor, special types, shapes are separated into two main categories: bowls and jars, the

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

be of the same as that of the body, in which case it is not always detectable by the naked eye, or of a different clay. Burnished: polished. Effected by compressing the surface with a smooth hard implement of bone or stone, which often leaves more or less visible marks. Shiny: effect produced by burnishing. Glossy: almost glassy. Very high shine produced by some burnishing techniques.

For each shape a short description and comment is given, the evidence for its place in the sequence, the sites where it was noted, its Phase or Phases, and sometimes the number of examples I recorded. The last is in no sense a statistic, since, especially for the commoner types, I have made no effort to count all the examples, nor would it tell us much. In the case of the rarer shapes I have noted all instances of their occurrence known to me at the time, where that was possible, and the figures give some idea of their frequency when the thesis was written.3

A list of principal sites is given for each Period at the beginning of the relevant section. I have only cited those known to me personally or reported by reliable sources. The bibliography of Neolithic sites in the Peloponnese has mushroomed since my original survey, and it has not been possible to include all the new ones.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

PERIOD I: Early Neolithic

which I was much indebted to Professor J. L. Caskey, but the opinions expressed here were reached without more knowledge of the stratigraphical background of the material than that given in the preliminary reports, and they may not accord with the excavator's final published conclusions. Of the fifteen deposits I looked at, four appeared to contain no sherds with the diagnostic late finish, and these I take to be earlier, but only just, than the rest: they were JA-JB, Cavities in Virgin Soil, with fifteen sherds; J: Stratum above Virgin Soil; J: Stratum I; and J: Hollows or Gully on East. Four others contained such a high proportion of Late ware, although still with little Urfirnis, that they may be taken to characterise the transition phase: trench HTJ; J: Trenches around room J 17, 3rd stratum; Pit AP, 2nd stratum; Pit BE, stratum 2. Two more deposits contained the same wares but with a significant amount of Urfirnis: J: Pebble Layer; and Pit BD with room 62. Finally, five deposits contained chiefly early sherds, but included a little of the later material, varying from one or two sherds to a fair amount: J: Stratum 2; J: Stratum 3; Pit AP, Stratum 1; Pit BD, Stratum 1; and Pit BE, Stratum 1.

Introduction Period I (Early Neolithic) corresponds roughly to WalkerKosmopoulos's Period I, Weinberg's Early Neolithic and Vitelli’s Franchthi Ceramic Interphase 0/1 and Ceramic Phase 1. It begins with the earliest pottery in the Peloponnese and ends with the appearance of Urfirnis proper. The end of Period I is not an precise moment of time, but is marked by a short transition phase, defined in cultural terms by a series of deposits containing progressively changing proportions of late Period I and early Period II wares, as well as by certain characteristic traits (smeary, brushed slips). These deposits cannot be labelled categorically Period I or II, unless some arbitrary statistical proportion is taken as the criterion, and this is hardly a practical proposition at present. It should theoretically be possible to distinguish three phases of Period I in the Peloponnese, the first having only monochrome, as in Central Greece (Elateia) and Thessaly, the second with monochrome and a little painted, and the third with monochrome and rather more painted, which includes the transition wares and types listed below. The large amounts of pottery from Nemea, with the relatively tiny percentage of painted ware, suggests that there was a monochrome phase, because in the few stratified deposits with painted sherds that I have seen from elsewhere, the proportion of painted, though always low, is higher than at Nemea (cf. Elateia).

It was not possible to study the deposits with the thoroughness they deserve, but a brief examination sufficed to show that they do not have a wide typological span. Apart from the fifteen sherds in the lowest pockets, the only noticeable differences in the contents are their changing proportions, as painted wares become a little more frequent and the new Late ware develops. The rarity of painted sherds in the earlier deposits is in part explicable by the relatively small size of the latter, but the finest knife-edge rim bowls in pale buff or BlackBurnshed ware, including the late grooved decoration, are present from the beginning, and there is no doubt that habitation began later at Lerna than at Nemea.

It is clearly not possible to make a tripartite subdivision of Period I on typological grounds alone, although there is some evidence for two stratigraphic phases at Corinth.4 At Nemea there is no stratigraphy and at Lerna the lowest deposit, the “Cavities in Virgin Soil” held only fifteen sherds. At Franchthi, where the thin EN levels also suggest a not very long EN occupation inside the cave, the lowest level in trench H - 37 had solid and linear painted sherds and therefore cannot be very early. No stratigraphical subdivision was possible within the cave (Franchthi I, 24, 25, 41-48) nor of the deposits on the Paralia. There is however enough typological and stratigraphical evidence to define in part the latest transition phase. This is characterised first and foremost by the presence of smeary, brushed, red-brown or low-lustre slips on basically EN fabrics, and secondly by the absence of true Urfirnis ware, which is easily distinguished: that is, Urfirnis as defined by Kunze and Weinberg. There was enough of this late ware at Nemea for it to be recognised as a class distinct from the other red-slipped ware, but no clue as to which of the rest of the material might be associated with it. The answer was provided by the stratified deposits of Lerna I, for permission to study

I have used the material from these deposits as the basis for the Late Phase types, supplemented by material from the upper six or so EN levels of trench H 37 at Franchthi, from Nemea and from other sites. Wares, types and traits are attributed to the Early Phase which are common at Nemea or Corinth, but scarce or absent from the Late Lerna I deposits. There is a lot of material, including much of the painted ware and the askoi, to whose position in the sequence neither ware nor stratigraphy gives any clue. A number of types and traits, such as the “proto-carinated bellies and shoulders,” which are characteristic of the Late Phase, almost certainly begin earlier than some others, such as the smeary slip, since the former are commoner at Nemea than the latter. All the fine wares known in the Early Phase seem to

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

persist into the beginning of Period II. In this context it is interesting to note how similar much of the Nemea material is to that of the earlier Lerna deposits, in which the full transition wares are scarce. On the other hand some of the slips found in the later Lerna deposits are quite unknown at Nemea, as are some of the pot painting techniques. The greater frequency of collar jars in the late Lerna deposits is also noticeable. For these and other reasons, which will be given, I have concluded that the latest material at Nemea is roughly contemporary with the earliest Lerna I deposits, and overlaps the later ones. Lerna grows as Nemea dwindles. If this is so, it suggests that some of the Nemea painted ware may be earlier than most of that from Lerna. EN Site List

Fabric6 This has been divided into three groups in order to emphasise certain features; in practice all three groups grade into each other. The Gritless is exceedingly fine, dense and uniform, being almost lamellar in structure, and containing virtually no filler apparent to the eye. Occasionally, due to the fine structure, a pocket of air, or a stray calcareous particle, which disintegrated during the firing, has expanded to raise a hollow blister on the surface. It is generally hard and clinky, though less so than the best Urfirnis fabric, but may also be soft and silty in texture. It is used for the finest plain or decorated bowls, is never common, and is basically a variant of the Fine group. It begins some time in the Early and flourishes in the Late Phase, but is found only as a relic in the earliest Period II levels.

Map 1 (fig. 62)

(For a fuller list of sites, all of which I have not been able to verify, see Sampson 1997, 352-358) The following sites are marked E or L according to whether Early or Late phase material occurs on them. I have seen material from most of the sites except Prosymna.

The much commoner Fine fabric contains a fine grit filler, and may be dense and uniform or slightly porous. The grits are nearly always white and apparently calcareous, but in some sherds there are fine black particles, and gold, or more rarely silver mica inclusions, reminiscent of the glittering Nea Makri fabric (Pantelidou 1995). A more or less complete burning out of the grits often creates a fine spongy texture, which may be concealed by a slip, and is greatly enhanced by the liberal use in earlier times of acid during the cleaning: typical examples are 66: 21, 29, 30.

Selected published references are given in brackets. North Coast 1. Akrata (Krathion) E/L AAA 1 (1968) 138. 2. Tarsina L BSA. (Haritonidis 1967). 3. Corinth E/L see p. 13. Achaia 4. Cave of the Lakes Mastrokostas 1967,216; Howell 1970, (Kastria Kalavryton) 97; Sampson 1977. Corinthia 5. Nemea E/L Blegen 1925 (1927). 6. Phliu ?E/L Blegen 1924 (Biers 1969. Inland Argolida 7. Prosymna L Blegen 1937. 8. Mycenae ?E/L AR 13, 1966-67, 8 Argolid Coast 9. Franchthi Cave E/L see p. 18. 10. Lerna E/L see p. 21. Inland Arcadia5 11. Levhadion-Panayia L Howell 1970. 12. Nestane-Panayistria L Howell 1970. 13. Loukas-Rakhi t’Ambelia L Howell 1970. 14. Tzivas-Goumarades L Howell 1970. 15. Vourvoura-Analipsis L Howell 1970. 16. Karyai-Derveni L Howell 1970. 17. Ayioryitika L Blegen 1928. 18. Asea L Holmberg 1944. see p.13. Laconia 19. Kokora Troupa ? AJA 1969, 156, no.76a.

It is more often hard and slightly clinky than soft, and may have a thin grey core. All shapes and sizes of vessel occur in this fabric, and certain regional differences may be noted. At Franchthi it is both grittier and more granular in texture, and with more non-calcareous inclusions. The medium fabric is a coarser extension of the Fine. It contains more and larger white grits, among which shell fragments can sometimes be identified, as well as some quartz and dark particles (67:16). All degrees of sponginess are common, and Walker-Kosmopoulos's “Riddled Ware” is an extreme form of this. Her figure of 6% Riddled to 91% Rainbow in the first metre of Temple Hill deposits seems low, unless she is only counting the coarsest of the spongy ware sherds. Spongy ware diminishes in the Late Phase and is relatively uncommon in full Period II. Much of the Medium fabric is less well fired than the Fine, and a thick grey core and crumbly texture are more frequent, though many sherds are exceedingly hard (66: 34). Fabric colour The usual colours of the Gritless fabric are dark grey or pale buff. The grey may sometimes be dark enough to describe as black. Red, orange or pink are not common in the Early Phase, and the orange in particular is associated

30

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

with the soft silty fabric. The buff is always pale, and may have cream, yellowish or slightly pink tones. The Nemea buff has a warmer, less creamy tone than the Corinth fabric. (e.g. 66: 21).

Mottled will be used here for the ware with well defined red, black, brown, buff or cream patches (e.g. 66:25). A confusingly similar ware is characteristic of Period IV. Finish

Among the Fine and Medium wares, tan, brown and a dark dusky red are commoner. Generally, the coarser the fabric, the more prevalent the dark browns, tans and greys. A dusky beige is typical at Franchthi, where pale buff is hardly known. When this does appear there, it stands out conspicuously from the rest of the material, as it also does in Attica and Boeotia (cf. Vitelli 1974, 43).

The Gritless is sometimes wet-smoothed (slurry finished), but is more usually well burnished. A high glassy finish is found only on some of the finest bowls (cf. Jacobsen 1973, 263). The Fine and Medium fabrics are usually wetsmoothed or lightly burnished, sometimes well burnished. The marks of the burnisher may or may not be visible: rarely in Corinthia, commonly at Franchthi. Paring and scraping are confined to the insides of closed vessels. The coarser ones are more frequently smoothed.

Surface colour On unslipped pots burnishing will darken a grey to black and deepen the tone of any other fabric colour, although less so in the case of the cream buff clay.

However, slipping or burnishing or both may be used on the coarsest fabrics, spongy or not. The presence of a slip is not always easy to identify by eye when slip and fabric are the same colour, or to distinguish from the thin compacted skin produced by simple burnishing. It can only be accurately identified in a thin section. This is especially true of the black monochrome fabric: on which, for this reason, it may often pass unnoticed (no mention by Weinberg 1937).

Slipping is usual. The colour may be the same as that of the fabric (self-slip), but even in the Early Phase red and orange slips are common (66: 31) on both fine and coarser wares. The rarer white slip varies from ivory to milky buff, is generally thin, and can be very inconspicuous on a pale buff fabric (66:5; 67:16. Cf. Weinberg 1937, 493). At Akrata and Asea a good white or cream slip was produced which compares well with that developed in Boeotia (67:2-3 give some idea, and see Asea, pl. I). Red slips vary considerably in hue, from a deep crusty vermilion, found mainly at Nemea, to a bright brick or orange, or even brown, and are much commoner than the red fabrics. Black slips are by their nature harder to detect, and sometimes overlooked. At Nemea a number of the fine monochrome bowls, especially those with groove decoration, such as 3: 4, are mottled black and tan, or chiefly tan in colour.

Late Phase characteristics A number of new traits are associated with the transition pottery. The red, orange and pink fabrics become commoner, and in the upper Lerna I levels there are some examples of the fabric that characterises Urfirnis ware (cf. Lavezzi 1947, 406). The more frequent overall evenness of colour on many pots indicates a greater control of firing conditions. But more striking is the appearance of new slip techniques and colours. Looking at a representative group of transition sherds from Lerna, one is impressed with the variety of surface colours and effects produced. It is a time of innovation and experimentation.

Apart from the fine black monochrome, most of the pots are not uniform in colour all over; this is a late characteristic, no doubt due to better firing control. In the case of the fine buff or the red-slipped bowls, it is usual for the inside to be black, except for a band below the lip, which is the same colour as the outside. Sometimes the lower part, both in and out, is black, while the upper is buff (67:15), just the the reverse of the Nea Makri blacktopped bowls. Among the less fine vessels the colour often varies from buff to red to brown or black on the same pot, although the contrasts between the zones are not marked, and the mottled effect is not striking on most of them (see below for an exception).

The red-brown slip, burnished or not, is most characteristic (well described by Jacobsen 1969, 363). This is Weinberg's Class II A Red Monochrome and Blegen's A I lustrous red slip, or a part of it. The burnish strokes referred to by Weinberg (1937, 498) may in some cases be the marks left by the scraper, which show through the unburnished slip. Its lower shine derives not from mechanical burnishing, but from the chemistry of the slip combined with a high firing temperature. I have used the term lustrous to describe the low shine thus produced. Where the surface of the pot has not been well smoothed or even burnished before application, the slip is matt. But burnishing is common, and the same bowl may be burnished on one side, and have an unburnished but lustrous slip on the other (often the inside). The slip is the

Various terms have been coined to describe the Early Neolithic pottery: Rainbow Ware, Buntpoliert, Variegated. But their usage varies according to the writer, and it is not always clear whether they are referring to the black and buff, the truly mottled, or both. The term

31

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

same, as an inspection of the zone where the two surfaces meet will show. The different surface treatment, in combination with a slight difference of firing atmosphere, produces the effect of two different slips (Weinberg 1937, 498; Blegen 1931, 66). The transitional status of the redbrown slip is apparent through its absence from the lowest Lerna I levels (cf. Caskey 1957, 160), from its relative scarcity at Nemea, and from Weinberg's (Weinberg 1937, 498, 300) and Jacobsen's remarks (Jacobsen 1969, 363-4; 1973a, 264).

painted ware. The Red Slip of Central Greece (Orchomenos Class D) begins in the first phase at Elateia and continues through until the appearance of Black-onRed and Urfirnis. It varies from dark red to red brown (Elateia, 168). But there are sherds from Chaironea and Souvala with cherry red, bright red and orange slips that would pass without comment in the Peloponnese. The brushed or smeared slip, however, does not appear to be found outside of the Peloponnese in this Period. The white fabric found in the lowest levels at Elateia and in the Proto-Sesklo phase in Thessaly is not, apparently, known in the Peloponnese before Period II (as at Nea Makri, where it appears with the first Urfirnis: Pantelidou 2000, 48), except for one spongy sherd in a Lerna transition level (Weinberg 1969, 168; Theocharis 1967, 144; Theocharis 1956, 10; but see PAE 1954, p.117).

The red-brown slip is sometimes streaked lightly here and there with dark. The streaks may be due to slight surface irregularities in which the slip lies more thickly and has resisted oxidation, or to irregular burnishing of the surface. The effect is characteristic, and is very common on Urfirnis ware. Another important innovation is the way in which the slip is applied. Instead of simply dipping the pot into the slip, the potter has applied it with a brush or hairy swab, which leaves fine “brush marks” behind. Other pots were thinly and patchily smeared all over and show no brush lines. The slip used on the smeared, and on some of the brushed, pots was thin and watery, so that every detail of the surface beneath shows through. At Lerna the smeared slip is often an unusual cherry colour, not observed at Nemea or Corinth.

Period I Shapes. Figs. 1-10

Finally there is a small class of mottled ware, especially from Lerna and Franchthi, on which the variation of surface colours is conspicuously pronounced. They are of fine fabric, burnished, and the contrasting black, tan and red patches produce a Vasiliki-ware effect, which one can hardly help thinking was deliberate. (66:25; 67:16 ; and cf. two bowls from Thessaly in Theocharis 1967, pl. XVIII A and B).

O.B.S.Convex 2 & 3. 1:2, 3. ca. 5 ex. These are rare: only two from Nemea and one or two like 1:2 from Lerna transition levels. All have some form of red or red-brown slip. Nemea; Lerna. Late

Shallow Bowls: Open Bowls Shallow (OBS) and Closed Bowls Shallow (CBS). For an explanation of the abbreviations see p. 27). Shallow open bowls do not appear to be a feature of the Early Neolithic in the Peloponnese, in contrast to Thessaly, and they are late, to judge by their finish or context. They are commoner in the next Period.

O.B.S.Convex 1. 1:1,4,5,10,13; 2:2; 66:2 ca. 14 ex. There are more of these, but they are still not very common. One like 1: 10 comes from a low Lerna stratum. Small cups (1:13) appear more often in transition contexts or wares, and become one of the most popular Period II shapes. Two have spur lugs (like 11:17), and one a ring foot, both of which are more naturally Period II traits. Two are Black, one has a white slip, and there are two in Spongy ware. 67:2 from Akrata is like 2: 2. Akrata; Corinth; Tarsina; Nemea (Zervos, 319); Lerna; Loukas-Karyai (Howell 1970, fig.2:7); Franchthi (Jacobsen 1973 a, fig.2:6; 3:5). Early:Late (Cf. a straight version from Asea: Forsén 1996, 1:12)

There is a general similarity, with local differences of detail, in the development of Early Neolithic ware in the North. The earliest fabrics at Elateia and in Thessaly have a range of greys, brown, tans etc., which later becomes predominantly redder and lighter, as the pot walls become thinner and harder. The finest Proto-Sesklo bowls closely parallel the Peloponnesian in technique and quality. A true black does not occur in Central Greece before the 2nd phase at Elateia, or in Thessaly before Proto-Sesklo. But in Thessaly and at Elateia, the Black Monochrome ware never becomes common, unlike Southern Greece (Theocharis 1967, 144; Elateia, 172).

O.B.S.Convex 0. 1:7 ca. 10 ex. This is a fine ware shape, a variation of the Medium form, from which it cannot be distinguished by small rim sherds. Five of these are Late by context or technique, the others uncertain. One is Black , two or three are Red-onBuff painted, and one from Akrata is Red on Cream. A very large one is illustrated from Phlius.

Slipping occurs everywhere on the earliest pottery, except for the primitive Thessalian ware described by Theocharis (1967, 99 ff). A white slip appears sporadically at Elateia in the lowest metre, at Nea Makri only in the 2nd phase, and in Thessaly probably not before the Proto-Sesklo

32

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Akrata. Tarsina. Phlius (Biers 1969, pl.114:28). Nemea. Franchthi. Lerna. Ayioryitika. Early:Late

simple round or flat bases. A typical small black bowl at Lerna contained infant bones (Caskey 1958,138). Early:Late There are published examples from Corinth (LWK 1948, pl. I a; Weinberg 1937, fig. 6; Theocharis 1973, pl. 27); Phlius (Biers 1969, fig.3:25; pl.114:24); Prosymna (Blegen 1937, fig.620:1); Lerna (Caskey, 1958, pl.38 a); Nemea (Miller 1975, pl.35 e).

O.B.S.Shoulder. 1:6,8,11. ca. 6 ex. A mixed category, including one or two different shapes which are too few to be classed apart. What they all have in common is a tendency for the curve of the side to harden into a shoulder, high or L. Some are almost carinations. There are four from Nemea and are all in a late ware with brushed slip; the knob on 1:11 is rare. Two are Black. I take the shoulder form to be a late feature in the Peloponnese. Nemea (Zervos, 319). Franchthi. Lerna. Karyai (Howell 1970, fig.2:13). Late

O.B.M.Straight 1. 1:18. ca. 11 ex. A minor variation of the Straight 0 shape, not as open as the later conical bowls. More of these are in spongy than fine ware and only one has the late smeary slip. Corinth;Tarsina; Nemea; Franchthi; Lerna; Ayioryitika. Early:Late

C.B.S.Convex. 1:9; 3:1,7-8 ca. 12 ex. The slightly closed shallow bowls grade into the Medium form, of which they are a less common variation. All are in fine ware and often decorated: several are painted and others are Black with groove decoration. Eleven of the examples are from Nemea, but I noticed none from Lerna, which suggests it may be a local speciality. 1:9 from Franchthi has the beginning of a shoulder. Corinth. Nemea. Franchthi. (Early):Late (very similar to Franchthi I, fig. 20c, with an oval pellet)

O.B.M./D.Straight 0. 2:3,6,9,11,15; 3:9; 4:2; 68:2; 76:5 ca. 33 ex. Medium and Deep bowls are taken together because rim sherds are rarely diagnostic, and the difference between them is slight, but the existence of both forms is well attested. They merge into the convex, differing only in having a straight length of side. They are variations of the Convex forms. The strongly everted rim of 2:15 is unique and very late, with its Red under Red painted technique. 2:13,14. and a dozen or so others are also Late. 2:13 has a faintly S-profile, unusual in this Period but typical of the next one, and is from a Late context; 2:11 may be similar. There are examples of Spongy, Painted and Monochrome wares, some of which might be Early. Corinth; Tarsina; Gonia; Nemea; Prosymna (Blegen 1937, fig. 620:4); Lerna; Ayioryitika; Asea (pl. II a); Tziva; Vourvoura (virtually concave-sided: Howell 1970, fig.2:12). Early:Late

O.B.S.Shoulder. 3,12. 1 ex. This bowl is treated separately because it is a characteristic Lerna Urfirnis type. It has a slip which is not properly Urfirnis, but which verges on it, and comes from a Lerna deposit which has otherwise very little Late Phase material. Lerna. Late Medium Bowls

C.B.M.Convex. 2:14; 3: 2-6, 8-11,14,15; 4:6-9; 76:10. This, with the Deep form, is the commonest of all shapes. The comments made on the Open form apply here, except that there are more of these in the coarser utility wares. Some of the many variations are illustrated; 4:7,8 are atypical rims. Ubiquitous. Jacobsen 1973a, fig.2:3;Theocharis 1973, pl.28. Early:Late

These are the leitmotif of the Early Neolithic. They come in all sizes, in every ware, and with many minor variations of proportion, foot and decoration. The difference between the open and closed forms is slight, but worth noting. The open bowls are rather less common than the closed, especially outside of Corinth and Nemea, and are more usually found in fine buff or black monochrome with the characteristic EN knife-edge lip.

Deep Bowls O.B.M.Convex 0. 1:12,14:15:16,17; 2:1,2,4; 67:15. A few rims like 2:4 are very slightly open, but a separate Convex class cannot be usefully isolated in this case. The form is universal and needs no comment. There is a tendency for the lips to be more rounded on the coarser bowls and more tapered on the fine ware; perforated lugs are more frequent than plain ones, and there are commonly four, equally spaced around the belly or shoulder, although one from Lerna shows that an arrangement of two pairs also occurs. Low, flat or more usually concave feet are commoner on all sizes than

These merge so imperceptibly into the Medium Bowl classes that the line between them is arbitrary, and the difference not always detectable in the sherds. But the distinction is worth making, where possible, because Deep shapes seem to be more characteristic of the later phases. O.B.D.Convex 0. 2:10; perhaps 4:2. ca. 5 ex. Deep shapes, if they are not closed, necessarily tend to a straightness of the upper wall, and this category is very

33

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

close to the O.B.M. 0 Straight (see above). They are all in fine slipped ware, except for one from an Early stratum. Corinth (Weinberg 1937, fig.4; Zervos, 101);Nemea; Lerna. (Early):Late

them, from their finish, or context at Lerna and Franchthi, are certainly Late, and most of the others may well be, but one or two come from Early Phase levels at Lerna and Franchthi. Corinth; Franchthi (Jacobsen 1969, pl,95 a, top right; 1973a, fig.2:7,13; 3:3; Franchthi I, figs. 21 p, 12b;); Lerna; Ayioryitika; Asea. Early:Late

C.B.D.Convex 2:16; 3:16; 4:1,3-5,10-12,15,17,20; 66:29; 68:1. A common shape, sometimes called a hole-mouth jar. A number of the above illustrations may be from medium rather than deep bowls, and too much distinction cannot be made between the deep and medium forms. Some of the variations shown are atypical; e.g. 4:5,13. The swelling rim of 4:4 is unusual in the Peloponnese, though not further north (e.g. Nea Makri: Theocharis 1956, fig.1:1; 10). The narrow mouth of 4:10 is also unusual; true hole-mouth jars or bowls are hardly known in the south. Early:Late Distribution too widespread to be listed, but there are published examples from Nemea (Zervos, 122; Miller 1975, pl. 35 d); ?Prosymna (Blegen 1937, fig.620:3); Franchthi (Jacobsen 1969, pl.94 c, right; 1973a, fig.2: 2,4,5); Loukas (Howell 1970, fig.2:2); Asea, fig.38 b (cf. Forsén 1996, fig. 1:10).

Jars Jars, as the term is used here, are closed vessels with a definite neck or collar, and they are subdivided accordingly. They are not common in the Peloponnese before the next Period, but they begin to appear towards the end of Period I. Neck Jar A. 5:1-4,6,8-10; 66:13. ca. 11 ex. These are closed bowls with rudimentary necks that are not sufficiently high or articulated to qualify as Collars. They come from Franchthi (5:3,9,10) and Nemea (5:1,2,4,6-8). The strongly hooked lip of 5:9 has only been noted at Franchthi and may be a local trait (cf. 5:7 from this site). The Nemea sherds are painted, but the finish and fabric give no clue to their date. Nemea; Gonia; Franchthi (Jacobsen 1973a, figs.2:11; 3.4. Franchthi I, figs. 5 g,12 a). Early:Late

C.B.Straight. 4: 6,16,[18],19,22; 67:17. ca. 20 ex. These include closed bowls in which the upper wall straightens out towards the rim. A number are in Spongy ware, but most are smaller fine vessels and several have an everted bead lip like 4:6. Rims occur in Early deposits at Franchthi and Lerna, but seem commoner in the Late Phase. 4:18 was wrongly included in this plate.7 Corinth; Gonia; Nemea; Phlius (Biers 1969, fig.2:8); Mycenae; Franchthi (Jacobsen 1973a, figs.2:1,8,9; 3:1,2); Lerna; Ayioryitika; Loukas (Howell 1970, fig.2:10); Asea (Forsén 1996, no. 4). Early:Late

Neck Jar B. 6:1-6,8; 66:1. ca. 11 ex. These are characterised by internally angled and thickened rims. Apart from one rim like 6:5 in an upper Lerna EN stratum, and one like 6:8 in spongy ware from Weinberg’s 1937 excavations, they are all from Nemea. Three have the special flanged rim of 6:8. There is little to date them. One has a Late red-brown slip; some of the others are painted Red-on-Buff, one Red-on-White. This shape is not found in Period II. Corinth; Nemea; Lerna; Franchthi (Jacobsen 1973a, figs. 2, 10, 13). Early:Late

C.B.Shoulder. 3:13,17. ca. 7 ex. All but one of these are from Nemea. As with the open forms, this “proto-carination” feature seems to be Late The one from Ayioryitika is white painted. Nemea (Zervos, 118); Ayioryitika. (Early):Late

Flaring Rim Jar. 6:7,10. ca. 3 ex. The few examples of this particular rim are given a separate category to emphasise their importance as transitional elements. They are typical of Period II, and one can trace a typological development from the end of Period I to the end of Period II. The fabric and pink of the two illustrated are typically Early Neolithic; the restored foot of 6:10 is hypothetical but probable. A rim like 6:7 came from a Late Phase stratum at Lerna. Nemea (cf. Blegen 1975, figs.3,5,7; pls.67,68); Lerna. Late

Mugs. 8:1,6,9,14. ca. 4 ex. I know of only four with handles; one each from Corinth and Lerna and two from Nemea. Two are open, two closed. The Lerna mug is from J, Stratum 2, in which there is a little Late material. There is otherwise nothing to date the type. Handles are unknown in the Early Neolithic except on these mugs and on the askoi, and one would suppose them to be Late Corinth; Nemea; Lerna. Probably Late

Collar Jars Closed Concave-sided Bowls.4:21; 5:5,7,11; 66:24.ca. 18ex. These shapes are intermediate between the Closed and the Piriform Bowl (e.g. 15:1-11), which does not begin properly before Period II, but has its roots here. Four of

I know of only four from Nemea, one of which from the ware and decorative style could almost be classed as Period I (7:1). There are however a number in the upper

34

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Lerna I levels, the material from which is quantitatively minute compared with that from Nemea. This may be taken to support the view that the Lerna transition levels are on the whole later than the latest Nemea material. There are none from the lower strata at Lerna. The Low, Medium and High Collar classes, though somewhat schematic in application, do have chronological significance.

A complete one was found recently in a pure EN deposit at Corinth (Williams 1974, pl. 5:35). Askoi. 8:19,22,23,26; 66:36; 67:3. I have only seen fragments of these vessels at Nemea and Akrata. Their characteristics are clear from the restored drawing. I have changed the Blegen restoration of the lip, illustrated on Zervos, 286, on the evidence of several lip and rim fragments observed in the Nemea drawers, one of which is from an askos with the same neck and mouth dimensions as Blegen's. They are fine ware, painted vessels, and evidently not common, because the narrow oval mouth is diagnostic enough not to be easily missed; they are possibly ancestral to the Urfirnis Pitcher of Period II. Askoid vessels are known from other parts, but are not the same (Lianokladi: Wace and Thompson 192, fig.119.Nea Nikomedeia: Rodden 1964, figs.9,13; Levkas: Zeit. für Ethnologie 1913, fig.3). Akrata; Nemea (Zervos, 286. Blegen 1975, pl. 63). Corinth: frag. of a large one from Temple Hill, Red-onWhite decor. Probably Late

Collar Jar, L. (less than .025m.) 7:11 ca. 4 ex. Low collars appear to be rarer than high ones. 7:11 from Franchthi is the only complete profile I know; others may have been less globular. The thin smeary slip on 7:11 puts it in my Late transition Phase, but by Jacobsen’s criteria it would be Middle Neolithic (Jacobsen: 1969, 363). None from Nemea. Phlius (Biers 1969, fig.2:2,3); ?Prosymna (Blegen 1937, fig.620:5); Franchthi (Jacobsen 1969, pl.95 a, right. Franchthi I, fig. 36 b: “monochrome Urfirnis”). Late Collar Jar, Medium.(.025-.050m.high) 7:1-4; 66:14. ca. 6 ex. These call for little comment. 7:3 is from the Pebble stratum in J at Lerna; 7:1; 66:14 from Nemea has a finish and decoration that verge on Urfirnis. One from Franchthi was in an upper EN level. Nemea (Blegen 1975, fig. 5 h); ?Prosymna (Blegen 1937, fig.620, 6); Franchthi; Lerna. Late

Crucibloid Vessels. 8:15,20,21,23; 68:4,5,6. First noted by Weinberg (1937, 493). They vary in size from large (8:25) to small (8:20), but have in common the bullet shape and dense heavy walls. The fabric is only slightly coarse and a well-fired buff, except for the inside. The exterior is wet-smoothed; the interior of 8:25 is smoothed, but others have pared and scraped inner surfaces, especially pronounced towards the bottom. Some have a round or square perforation in the bottom or side (8:15,20). In a few cases the pointed base shows a certain blackening, as though it had stood in embers. Fig.8:21 is unique, being comparatively fine, with scored strokes on the smooth exterior; the inside is roughened for a short distance below the lip, and the rest is covered with fine scratched or wiped lines. These vessels are distinct in shape and fabric from the MN Husking Bowls. They show no signs of exposure to unusually high temperatures, and the thick walls seem designed to withstand pressure rather than heat. They may have served as mortars for crushing or macerating fruit and seeds, and are perhaps a forerunner of the Husking Bowls. Indeed, one fragment had coarse grits embedded in the inner wall.

Collar Jar, High (more than .050m) 7:5-10; 67:3.ca. 11 ex. Eight of these come from Late Phase strata at Lerna. 7:8 the only one from Nemea, has a thin white slip. 7:6 from Akrata has a more everted collar than usual in the Peloponnese; this is a Central Greek feature. 7:9 from Ayioryitika, unstratified, has a red-brown slip which persists into Period II, so its attribution to this phase is not sure. Akrata; Nemea; Lerna; Ayioryitika. Late Spouted Bowls.8:3.5.8.11-13,16-18;67:9.10.10a.14. ca.12 ex. From the one or two examples on which part of the rim is preserved (8:8,13) it appears that these were simple hemispherical bowls with a open spout projecting from the rim and supported by a curved strut (8:17,18). The spouts may be long and narrow or short and wide, the fabric fine or spongy, and some were painted. There are five from Nemea, “several” from Phlius (Biers 1969, 450), at least one from Akrata, in fine Black Ware, and fragments of struts were noticed at Corinth, Lerna, and Loukas. Nothing of the kind is known from Central Greece, and rare spouts in Thessalian A1 ware (Tsountas 1908, fig.81 and unpublished examples in Volos Museum) are rather different and are strutless. Akrata; Corinth; Nemea; Phlius (Biers 1969, pl.114:29); Lerna ; Loukas. Probably Early and Late

There are numbers of them from Corinth and Nemea, and two or three sherds that might be from similar vessels from an upper Lerna I deposit. I know of nothing comparable from elsewhere, nor do they occur in Period II. Corinth; Nemea; Lerna. Early or Late Husking Bowls. 8:24; 68:7 The term was applied by Weinberg to this characteristic Period II utensil (1965. 38). Its large size, thick walls

35

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

covered with deep, sharply scored grooves inside, often showing marked signs of wear, and its open bowl shape all suggest that its function may have been husking grain or processing fruit. There are fragments of such bowls From Nemea and Lerna I levels, some of them in a distinctive fabric which does not seem to occur in Period II. The clay is packed with very large angular grits, giving it a brecciated appearance, like a certain Middle Helladic coarse ware. At Lerna three examples have an obliquely bevelled lip (8:24). The first horizontal cut-off lips appear in the upper transition levels. Although one husking bowl sherd was found in an early Lerna I deposit, fragments are very rare at Nemea, and they may be more safely assumed to begin in the Late Phase. Like the previous vessels, they appear to be confined to the Peloponnese. Nemea; Lerna. Late

Period I. Special Features Rims EN rims with few exceptions are simple rounded or tapered. The former is rather less frequent, and found on coarser or heavier vessels. The characteristic lip has a more or less pronounced symmetrical taper; 1:17 would be about normal. On fine ware bowls, however, the taper approaches a knife-edge (e.g. 3:4); this may well be a regional speciality, since it is rarely seen north of the Gulf, except for Boeotia, where one or two examples are known. It is hard to tell how early this extreme form begins, but it is characteristic of the Late Phase fine ware monochrome Buff or Black. Asymmetrically tapered rims like those in Central and Northern Greece are very rare in the Peloponnese (cf. Theocharis 1959, figs.4 21; Elateia,170; fig.5:1,2; Theocharis 1967, fig.63; Rodden 1962, figs.9:3; 10: 31,32).

Spoons. 8:7. ca. 4 ex. These do not seem to be common in Period I. There is a fragment from Nemea (8:7), and three from transition levels at Lerna (J: 3rd stratum), one being in Red Slip and one in Black Ware. There is too little preserved to restore the complete shapes, but the handle is round in section. Nemea; Lerna. Late

Flat or cut-off lips. These are rare (cf. Weinberg 1937, 496). Equally, the bevelled lip, so characteristic of Central Greece (e.g. Elateia fig.6:4; Zervos, 115), where it is often notched, hardly occurs in the Peloponnese.

Protomes; Face-pots. 8:2.4; 68:10 ca. 3 ex. Rare curiosities in the south. 8:4 from Nemea seems to represent a plastic nose and mouth surmounting a now broken handle, from a cup or askos. 8:2. is an unusual handle from Nemea, which may have come from a similar vessel or from a spoon. One fragment of a face-pot has been found at Franchthi (Jacobsen 1973a: 262-3, pl.150 a,b). Probably Late

Nemea rim. 3:2,3,6,8,15. This uncommon but characteristic form is characterised by an abrupt thinning or hollowing of the wall immediately below the lip; it is less pronounced than a groove and gives the rim in section a waisted profile. It occurs chiefly on the glossy burnished, rib-and-groove decorated Black Ware and is centred on Nemea, although I have seen one example from Akrata. (cf. the slightly different version from Lerna of 3:5). End of Early: Late Phase

Legs. 8:10; 68: 3,9,11. I know of no figurines from the Peloponnese which can be surely attributed on grounds of provenance or finish to the Early Neolithic Period, in interesting contrast with Thessaly. Legs, however, turn up in EN contexts, some of which certainly, and all of which probably, came from vessels of some sort, and not figurines. There are several from Nemea (8:10), reminiscent of those from Nea Makri, but not incised (Theocharis , 1959, figs.42,43). They consist of a simple clay core covered with a thick outer layer of finer clay, badly bonded to the core, which was moulded into a leg with a schematic foot; they are broken at the top. A leg from Lerna, J. Mixed Fill, which from shape, fabric and finish should belong to the same class, has preserved at the top a patch of original burnished concave surface, which looks just like part of a bowl interior. There is another almost the same from Akrata with a transition smeary slip (68:3). Since no fragments of “tables” or “altars” have been noted in the Peloponnese, the presumption is that such legs were used on vessels not markedly different from the ordinary repertoire; perhaps open bowls (?Miller 1975, pl. 41d).

Everted rim. 1:16; 2:9; 4:4. This slightly everted, tapered lip is less common in the Peloponnese than perhaps in Central Greece (cf. Orchomenos fig.3; Elateia, figs. 5:6,7,8); and there are a number from Chaironea and Souvala in the B.S.A. Grooved rim. 4:7,8. Uncommon; only two or three examples known. Beaded rim. 4:6. This characteristic Thessalian rim is rare in the Peloponnese, and associated with the late transition or even early Period II wares and shapes. The slightly thickened lip is round, and clearly distinct from the thinner wall below. The examples from Nea Makri (Theocharis 1959, fig. 1: 2.3; p.8, where it is described as common; Pantelidou Gofa 1995, fig. 32: 6-11, 6-24, 6-

36

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

111), would be unusual in Corinthia. It perhaps occurs at Elateia (e.g. Elateia, fig.5: 9,10, ‘with lip groove’), but is most common in the North. At Argissa it starts in the Early Ceramic phase (Milojc¬ic´ 1959, fig.5, 3.16), and it is the typical rim on Proto-Sesklo bowls (Milojc¬ic´ 1971, passim).

from the early phase at Psachna-Varka in Euboea; both would be typically Period II in Corinthia. At Poussi Kaloyerou (Attica) there are ring feet in the same ware as the concave feet and other Early Neolithic sherds. In Central Greece the concave foot seems to be rarer than the ring foot in the Early Neolithic levels, although Weinberg does not draw a distinction between concave and ring feet, so it is hard to be sure. In Elateia, fig.7: 5 and 7 look like concave feet, while fig.7:6 is a developed ring foot, all from the Early Neolithic. The flat splayed base of fig.7:3 is not a Peloponnesian type. Elateia, Fig.7:8, "Middle Neolithic,” could well be a concave foot; in which case it is another illustration of the continuation in Central Greece of Early Neolithic features into the later Period that characterises that region (Elateia).

Bases. 9:16-28 Round bases are found on most shapes and need little comment. (1:10,13; 9:16). They may be commoner in the Early Phase, but the only observation to this effect is a note by Walker-Kosmopoulos (1948, 21, n.43) that 65% of the Rainbow Bowls from Period I have round bases. They are probably not used on the later fine wares. Flat bases are most frequent on the very large heavy bowls, used no doubt for storage, which are common at Corinth, but otherwise rare (9:17), like the simple concave base (9:10), and the flat disk foot (9:19), although the latter seems more frequent at Lerna. Commonest and most characteristic are concave feet like 9:20-22, which are occasionally perforated. The higher, profiled foot of 9:25 is Late Phase, found on transition ware bowls. Many come from closed shapes; hence the hypothetical restoration of fig.6:10. They are less frequent in the medium coarse spongy ware (cf. Weinberg 1937, 497).

In Thessaly the concave feet of the Early Ceramic phase parallel those in the Peloponnese. The low concave feet from Sesklo (Theocharis 1967, figs. 60; 61; 63), the higher foot of the typical Thessalian bowl (Theocharis 1967, fig.59; Milojc¬ic´ 1959, fig. 5:12) as well as the early ring feet (Theocharis 1967, fig. 58; Milojc¬ic´ 1959, fig. 5:11) persist into the Proto-Sesklo phase (Theocharis 1967, fig. 85; Milojc¬ic´ 1959, figs. 6:6,9; 7:6; 7: 2,3). Thereafter ring feet and pedestals appear to be much commoner than they are in the Peloponnese before Period II (Milojc¬ic´ 1971. figs. 13-15; beilage 7:8).

Ring Feet There is a basic difference, sometimes overlooked, between concave feet like 9:20-22,5 and true ring feet like 9:24,26. The first is made by building up the vessel in one piece from a thick disk base, which is then hollowed and trimmed. The second is made by attaching a ring of clay to the round or flat bottom of the pot after it has been built. Generally it is easy to distinguish them in the hand, especially when broken: the ring foot breaks cleanly away from the bottom, while the concave foot never does. From a drawn profile it is not always easy to tell the difference. 1:14 shows the simplest, most primitive form of ring foot (cf. Biers 1969: fig. 2:13,14); 9:24 is a more developed type; 9:23 is found only on large heavy vessels (Biers 1969, fig.2: 15). 9:22 and an identical foot from Corinth in fine black-burnished monochrome, with perforations, are the only examples of this type I know that on grounds of provenance or fabric and finish might be attributed to Period I.

Pedestals? 9:27,28 3 ex. Each of these three examples from Nemea has a painted band around the rim, which carries over for a short distance onto the inside. 9:27 is very rough and irregular, not even smoothed, on the inside; 9:28 has strong paring marks on the inside; the third, of similar shape to 9:28, has been lightly burnished on the inside. The fabric and paint are typically Nemean EN, but pedestals are otherwise unknown to me in this period. However, a fragment like 9:28 appears in an early Lerna II stratum with good Urfirnis outside (22:26). They remain problematic. The inside finish of two of them seems to preclude their function as normal bowls or cups, since open shapes are without exception smoothed, burnished or slipped inside. On the other hand, pedestals of this type would be unusual even in early Period II in the Peloponnese, but are common enough in the Thessalian Magoulitsa culture of Milojc¬ic´ (1971, pl.13; fig.7).

Apart from the 1:14 type, itself not common, the ring foot, wherever found in the Peloponnese, outside of Final Neolithic contexts, signifies Period II. The concave foot may persist into Period II, but not for long and it never occurs in classic Urfirnis ware; it is thus a useful diagnostic feature. How far this rule applies to Attica and Central Greece is doubtful. At Nea Makri, fig.5 (lower) looks like a typical concave foot, while figs. 5 (upper), 12 and 22 are ring feet (Theocharis 1956). Theocharis 1959, 10, fig.1:6 is a concave foot and fig. 1:5 a pedestal foot

Lugs, plain. Unperforated lugs are uncommon in the Peloponnesian Early Neolithic and are generally small, being either vestigial (2:4; 6:10; cf. Biers 1969, fig. 2:8; pl.113: 8,9) or decorative. One large angular ledge lug was noted in an Early Phase level from Franchthi. And in the Late Phase a few vertical lugs occur on the belly or rim of bowls

37

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

(Jacobsen 1969, pl.94 c, left; our 9:1), and one or two cylindrical knob lugs from Nemea (1:11; 66:38). The oblique rim lug of 9:6 comes from the Lerna pebble layer and is transitional. Lugs, perforated. 9:29-36; 66:32,34,35;68:1,2. Both horizontally and vertically perforated lugs are the standard Period I form of handle. They are most frequent on the coarser wares (cf. Weinberg 1937, 497; Biers 1969, 448), but may also be found on the finer vessels. The vertically pierced type is more usual on the bellies of closed forms. In the Peloponnese they are placed close to or above the middle of the bowls, but never directly under the rim, either two or four to a vessel (cf. 4:1,17) Sometimes four lugs are arranged in spaced pairs; an instance was noted at Lerna, like 2:16; 68:1 from Asea (Forsén 1996, fig. 1:3, although it is unstratified and could be later.

1973 a, 263; cf. Franchthi 1, 46) and at Nemea the painted would be no more than 1%, at a conservative estimate, which is another reason for supposing that the large body of unstratified pottery at this site includes a monochrome phase, as at Elateia. Painted sherds were noted in the Early Phase Lerna strata and the lowest levels of H 37 at Franchthi, which lie directly over the aceramic stratum.

There is a development in the shapes of the lugs from the Early to the Late Phase. The earliest are rounded both in plan and section, and project less from the body (9:30; 66:34). Later lugs become thinner (9:31), often more profiled (9:33), and in the Late Phase may assume the triangular or rectangular shapes which are common in Period II (9:32,34). At the same time the early form continues to be used, especially on the heavier vessels. For early lugs, cf. LWK, pl. I a; for the later type, Biers 1969, pl.114:20,22. 9:35 is perhaps a local Nemea variant.

The Nemea painted wares may be taken as characteristic of the Early Neolithic in the Peloponnese as a whole. The special transition features found at Lerna, and scarcely noted at Nemea, are confined to the very latest phase and will be described separately. Table I sets out in tabular form the main features of the Nemea pottery; the percentages are based on a figure of between 70 and 80 sherds. It will be seen that the ground is usually a shade of buff, unslipped, and commonly burnished. The paint also appears generally to be burnished, but it is hard to tell with worn sherds; there is a small class of brilliantly glossy-burnished sherds, and another with thick crusty paint. The red colour is variable; I have divided it into red with a strong orange cast, and simple red, which in the case of Nemea is of a deep brick hue. Some are dark red; a few have been reduced to dark brown, and one or two are black: fig. 66 gives an idea of the range of colours. At Franchthi a chestnut brown seems to be commoner than red. A white slip is very uncommon at Nemea (66:5) and often hard to detect on the buff body. At Asea, Corinth and Akrata the white slip sometimes resembles the thick cream burnished slip typical of Central Greece (cf. Weinberg 1937, 498).

The only single site with enough painted material to afford a general view of the range of styles and patterns is Nemea, where I noted some eighty sherds. The upper transition strata at Lerna illustrate in fragmentary fashion the stylistic trends towards Period II decoration which accompany the new slipping and painting techniques. The small but interesting number of painted sherds from Asea, without stratigraphical context, indicate the degree of local differentiation prevailing at the end of Period I.

The first small tubular lugs, usually vertical (2:14), begin to appear, in a late context or ware, at Lerna and Franchthi. There is one from Nemea, in typical blackburnished fine ware, some .040 m. long. Strap Handles. Proper strap handles with oval or rectangular sections are unknown to me in Period I (cf. Weinberg 1937, 495), but some large perforated lugs might be considered transitional between the handle and the lug (e.g. 9:36). When handles first appear in Period II they are used at first only on collar jars. Round section bar handles do occur in Period I, but exclusively on Mugs and Askoi (8:1,6,9,14,23,26).

Table I. Nemea Painted Ware

Painted

Paint colour Orange Red Dark Red Brown 70 sherds: % 33 43 14 4 Paint and ground Rd-on-Bf Rd-on-Wh Wh-on-Rd Wh edge 80 sherds: % 81 4 3 4 Paint surface Glossy Smooth Crusty 70 sherds: % 30 66 4 0 Patterns Solid Linear Combined 74 sherds: % 40 46 14 0

Painted sherds constitute as tiny a fraction of the total assemblage in the Peloponnese as they do in Thessaly and Macedonia. Figures are not yet available for Lerna, but at Franchthi the painted was some 5% of the total (Jacobsen

It is characteristic of Period I that only the outside of a pot was decorated. The inside of open shapes generally has an overall slip, burnished or matt, and the inside rim of collar and neck jars is similarly treated. The very rare exceptions

Decoration There are three ways of decorating pots in Period I: with painted patterns, round or oval pellets, and by grooving and ribbing.

38

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

only prove the rule: 2:1, from Tarsina, has an inside rim frieze of tiny triangles on a typical Period I bowl, and three or four from Lerna upper transition strata are painted inside with zigzag or net patterns, but their stratigraphical position is marginal and the ware and paint are close to Urfirnis.

practice of painting a thin smeary slip over the painted decoration, with the result that the latter is partly masked or nearly obscured (Asea pl. IIA is a good example, but none was noted from Nemea); c) painted lines are sometimes wholly or partly black instead of red or redbrown (e.g. 66:8,14); d) perhaps the occasional brilliant, glassy burnish, although this occurs only at Nemea.

Solid Patterns Stylistically there is little of which one can be certain except: a) the practice of covering the lower half of the vessel with a plain slip and decorating the upper reserved zone (3:,9), which is also the common Urfirnis practice; b) the tendency of linear decoration to become finer, neater and more complex: e.g. 2:5; 3:11; 4:4,13; 7:1,3,5,6,7; 10:17,18, 23,24,26; cf. LWK, Pl. IId,e; Weinberg 1937, fig.7 g,h. Note also LWK Pl II b, a Redon-White spongy sherd, on which the triangle has a characteristic Urfirnis tail, and pl. IId,e, with Red-onWhiten “Corinthian Brown” (i.e. Urfirnis).

Large solid motifs are common at Nemea and seem to be all based on the triangle (fig. 6:7,10; 10:1,3; 66:18,20). Fragments are known from Corinth, Akrata, Asea and Franchthi, where three or four come from the lower H 37 levels, but the pieces are too scrappy to be sure of the motif, except in one case (5:7). None were observed at Lerna among the relatively more numerous Late Phase sherds. There is much variation in the triangles, which may be equilateral or elongated, upright or inverted, and pendant from the rim, with or without a rim band. Sometimes they are used together with linear motifs: a simple line parallel with the outline of the triangle, or a large cross-hatched motif, perhaps also triangular (2:6; 3:8; 4:3,22; 5:7,8; 10: 1-4,8,10,11,21; 66:17,18,20,21,22; Miller 1975 pl.35 c).

The dating of other features of the painted pottery must remain a matter of opinion at present, but some suggestions may be made: a) Red-on-White slip. Only three or four sherds were noted among the eighty from Nemea, while half of the dozen painted sherds I have seen from Akrata are of this class, three of the eight sherds illustrated by Weinberg from Corinth (1937, fig.7 b,e,f), several from the upper Lerna I stratum, and probably half of the EN painted sherds from Asea. This again suggests that the low percentage found at Nemea has a chronological rather than geographical explanation. The EN from Asea is, as we have noted, considered on other grounds to be Late. Some support for the lateness of the Red-on-White slip may also be found in: -

Small chequerboard triangles are known only from Akrata, Corinth and Asea (2:2; 10: 19,20; 67:0,1; 68:2; Asea pl. II a). They seem to cover a large area of the pot, but there is no evidence that they were used as a fill for larger motifs, as at Chaironea. Part of a Red-on-Buff chequerboard of larger squares was found at Nemea (10:9), and two diamond chequerboard Red-on-White fragments are published from Asea (fig.46 k) and Corinth (LWK, pl.II c). The latter are uncommon at any time in the Peloponnese, and more appropriate to Period II (cf. Jacobsen 1973a, fig.2:15). Linear Patterns

b) The chequerboard motif of small triangles. At Asea these are Red-on-White, or have the very late Period I (if not early Period II) thin smeary over-slip of 2:15; 68:2 (Asea, pl.II a). At Akrata they are Red-on-White, and used on an askos shape (67:8). There are none at Nemea, where material of the latest transition sort is also wanting or very scarce; and they are also missing at Lerna, where some of the material seems to be contemporary with Nemea and some later. This suggests that the small triangle chequerboard motif is late and may also have a restricted local distribution. The inspiration for the decoration at Akrata is probably to be sought across the Gulf of Corinth (Elateia, pl.57 c). Its popularity at Asea remains hard to explain except as a manifestation of local tradition; it may simply be due to the thinness of our knowledge of EN Arcadia.

The motifs are chiefly simple multiple chevrons and zigzags, cross-hatched triangles (3:7; 66:15) and wide bands (10:14,21,22; 67:5,6,7.) with or without a fairly wide rim band. There is variation in the treatment of the zigzag lines, and at Nemea they are not very fine or thin: compare the unique and very late 66:14 with the rest. It is probable that with enough examples to hand one could distinguish local styles. For example the motif 10:18; 67:2 from Akrata is quite distinctive, as are some of the Nemea triangles (10:11; 66:28). Jacobsen 1973a, pl.49:6; Miller 1975, pl.35 c. Late Phase Characteristics In terms of technique these may be listed as a) the more frequent use of a slip ground for the decoration; b) the

39

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

c) Large triangular motifs are known only from Akrata, Nemea and Franchthi at present, if we exclude the white painted examples from Asea (Asea, pl.I h,i, as well as others). The prevalence of this motif at Nemea and in the lowest Franchthi levels, and its absence at Lerna, both from the EN and earliest MN strata, all suggest that large solid patterns flourished early rather than Late. On the other hand, the large white triangles from Nemea (10:28) and Asea (10:31,32) suggest that this motif continues until late at some sites. 13:6 and 15:10 from Akrata are a unique local survival of this motif into Period II.

distinctive. More interesting are those from the second level. The white zigzags of Theocharis 1959, fig.27 have parallels at Nemea, Lerna and Franchthi. The crosshatched triangles of fig.28 resemble those from Nemea, although their arrangement has no exact counterpart. The finer lines of fig.31 are like the Late Phase examples from Nemea and especially Lerna. Among some sherds from Poussi Kaloyerou (Attica) at the BSA, there is one with a thin high-gloss orange paint on a thin ivory slip, and a pattern of broad oblique lines, that is like enough in all respects to the Nemea equivalent. The body of evidence from Attica is not great, but it displays a degree of similarity in technique and style with Corinthia. See Pantelidou 1995 for more details).

d) White-on-Red paint. This is uncommon except at Asea, although the odd piece or two turns up on most sites. The white paint is crusty and applied over the burnished surface at Nemea: it is therefore very fugitive, leaving no trace where it has worn off. There are only two pieces from Nemea, one with solid triangles (10:28) and the other with a zigzag line. Linear decorated sherds are known from Akrata (10:29;). Mycenae, Franchthi, Lerna, Prosymna (Blegen 1937, fig.623:3.4); Ayioryitika (10:34;76:9) and Asea. At the latter site I noted some fourteen sherds, mostly linear, including some complex patterns (Asea, fig.46 a), but with some solid motifs, already referred to, combinations and other motifs (Asea, fig.46; pl.I). Their stratigraphic position at Lerna, in the Late Phase strata, the scarcity of other material from Asea which could be earlier than the end of Period I, and the fabric and finish of the unstratified Akrata and Ayioryitika sherds, all suggest a late transition date for most of the Asea material, although the use of white paint may well have begun earlier.

In Central Greece, at Elateia, two separate excavations found a lowest meter of monochrome wares (v. supra, Sites and Evidence, p. 15). Although a white slip was in use from the beginning, it was not apparently used as a ground for painted decoration at first, because the earliest painted is Red-on-Buff. The white slip used on the first Red-on-White sherds is often not very good, more a thin streaky greyish (Elateia, 177), in which it resembles some of that in the Peloponnese. But in Central Greece the potters soon developed a thick creamy, and later a thick chalky white slip, which the Corinthians never achieved, although the potters of Akrata and Asea had more success. The patterns of the earliest Red-on-Buff painted ware can all be matched in the Peloponnese (Elateia, pl.56 a,b), while those of the early Red-on-White(pl.56 c,d) cannot, with one or two atypical exceptions. The large solid triangles of the Peloponnese have no parallel in Boeotia. Another difference is the practice in Boeotia from the first of decorating the inside of bowl rims. Separate potting traditions have already been established. By the time Redon-White becomes common at Elateia, there are further divergences: the characteristic bowl rim friezes of small triangles, semi-circles and circles, and the ubiquitous multiple line band with broad margins, are local Central Greek features (Elateia, figs.56 c,d; Thespiai, Caskey 1951, pl.87: Orchomenos, pl.XVI a, etc.). Some of the early Red-on-White patterns, and many of the late, have close parallels with the Peloponnesian Period II, and this poses the question of the comparative relative chronologies, which will be considered later. There is, however, no mention of white paint at Elateia, although further down the Kifisos valley at Orchomenos and Chaironea it is known, if infrequently, and is similar to that from Nea Makri and the Peloponnese. The added white decoration has already been referred to. At Chaironea it is used also as a separate element together with red linear patterns.

e) The three sherds of white edged red triangles from Nemea (10:27; 66:19) are worth noting. The matt white fugitive paint is put on over the red. Their importance lies in the rarity of this type in the Peloponnese and their close parallels in Boeotia, at Orchomenos and Chaironea (Orchomenos, pl.112; Fracas 1968, fig.1:1-10). f) Other motifs which there is reason to think may be late are the fine hatching of 10:17,22, and the multiple wide-margined band of 10:15, since they are dominant elements in Period II decoration, but rare in Period I contexts. I know of only two other sherds with the 10:15 motif: from Corinth (Weinberg 1937, fig.7 g) and Ayioryitika (Blegen 1931, fig.3), which looks much more like Urfirnis than red slip). Comparisons with the North At Nea Makri painted sherds were rare in both EN strata. Any of the Red-on-Buff sherds from the first stratum would be at home in the Peloponnese, but they are not

Painted pottery begins in North Greece with the Thessalian Proto-Sesklo phase. It is interesting that one

40

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

can detect the beginnings of both solid and linear styles in the amorphous splotches from Sesklo, Pyrasos and Soufli (Theocharis 1967, figs.71; 72; 73; 1959, fig.9), if indeed they represent the first potters' gropings after painted decoration, as Theocharis believed (cf. Hourmouziades 1971a, fig.10). But the earliest properly painted sherds include both Red-on-Buff and Red on White, and some rare White-on-Red (Milojc¬ic´ 1971, 60-64; Theocharis 1967, 130-131). Crudely painted sherds from Nea Nikomedeia (Rodden 1961, fig.10) and Prodromos (Hourmouziades 1971, fig.3) show fragments of solid and thick linear motifs. There are sherds from Nemea that display a similar roughness of execution (cf. 4:22, and others not illustrated here). Such crudity may imply a primitive or early stage, or equally just a local preference; better stratigraphic evidence is needed than that available to determine which. In the North, again, the earliest painted bowls are not decorated on the inside (only one: Milojc¬ic´ 1971, 61). Among the Proto-Sesklo material there are many parallels with the Peloponnese, especially with Nemea (JRGZ, fig. 6:3, 4, 7, 8 ,9, 10; Theocharis 1967, figs.75, 78, 82, 83, 84; pls. XXII A; XXIII A). The solid white triangles of pl. A are reminiscent of Asea, but the large semicircles of pl. B are not found elsewhere. The white linear decoration, although not distinctive, is broadly similar.

1973a, pl. 49 d). There are similar sherds from Lerna. A sherd from Akrata has rows of vertical strip pellets, and from the bed-rock cavities of Lerna I also comes part of a thick-walled, spongy, closed pot covered with welts, identical to that illustrated, from Nea Makri (Theocharis 1959, pl.8, upper right). At Nemea the rare oval pellets are on Late wares (3:16). The commoner black-burnished Corinth examples could be Early or Late The Lerna welts occur, with the exception noted above, in Late levels. On the whole they seem more characteristic of the Late Phase. The round pellets begin earlier. At Nea Makri the four pellets on Theocharis 1959, fig.21 are very Nemea-looking; on the other hand the crowded pellet decoration of pl.8 (and Pantelidou 1995, fig. 22:432) is purely local, and closer to the Central Greek style, since pl.8, top left, with the more open spacing, can be matched at Chaironea on a Black-Burnished sherd, and at Souvala (BSA). But the Central Greek pellets are more usually set in single or multiple rows, making triangle or zigzag patterns (Orchomenos, 16, pl.XI c; Elateia, pl.53 d), and are common on the black monochrome ware. Oval pellets are less frequent, but still apparently more so than in the Peloponnese. In Thessaly single round pellets are common on the Proto-Sesklo bowls. Oval pellets occur singly (JRGZ, fig.8:1), and in rows on the White Ware (Theocharis 1967, fig.85).

Plastic and incised decoration The most typical form of decoration in Period I is by applied pellets, round or oval. The simple round pellets are generally convex (3:1), sometimes flattened on top (9:10; 66:37) and vary between .005 m and .010 m in diameter. They appear on all fabrics and shapes, but are especially characteristic of the finer bowls, where they are usually placed close to the widest diameter, sometimes close to the rim, but never immediately beneath the lip, as they may be at Elateia (Elateia, 171). They are noticeably less frequent south of Corinthia. Occasionally they have flaked off, leaving a scar on the surface. The pellets may be two or four to a pot, like the pierced lugs. In Corinthia they are often grouped into horizontal or oblique rows of three (1:7; 2:10) with four such groups to a vessel. Multiple rows (10:10) are rare.

Pellet Rims. 9:2-4 An uncommon but curiously widespread form of decoration. The pellets may simply be stuck on (9:2), or moulded into the lip to produce a wavy effect (9:3). One from Lerna has a row of oblique welts along the lip. There are examples from Nea Makri (Theocharis 1959, fig.11 d, e), Orchomenos (Orchomenos, fig.35), Skyros (Theocharis 1945-7, fig.38), Leukas (Dörpfeld 1927, pl.85 b). In the Peloponnese the stratified examples, from Lerna, are Late. Two are shown from Phlius (Biers 1969, fig.2:4,6) and from Franchthi (Jacobsen 1973a, fig. 2: 11-13).

Oval pellets (3:16; 66:26) are not so common, and generally found in groups. At Corinth there are examples of oval pellets in two or more rows, after the Central Greek fashion (Weinberg 1937, fig.29a,b). At Nemea there is a horizontal row of heavy pellets set obliquely on the painted wall of a closed vessel (10:16; 66:30). Elsewhere they seem hardly to occur, although examples are known from Lerna. In Argolida the pellet is worked into the wall of the pot to produce a low welt-like protuberance, (cf. 3:21; Jacobsen 1969, pl.95 a, top right;

Finally there are a few uncommon variations on the pellet theme. At Nemea there are some large pellets with dimpled tops (9:11) and some large very thin disks, which may be concave (9:5) or more usually flat. One such from Nemea is on a streaky orange slipped bowl; there are others on fine Black-Burnished sherds from the Lerna pebble layer; and they appear to be found at Prosymna (Blegen 1937, 369). Otherwise they occur on Period II Urfirnis pots. One is illustrated from Orchomenos (Orchomenos, pl.IX: 2).

41

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

A characteristic Period II applied ornament (or in some cases it may be a potter’s mark: see below) begins at the end of Period I. This is a small strip of clay, which may be straight or curved, single or in groups. There is part of one from Nemea (2:3), and a few examples come from transition wares at Lerna.

Finally, a few odd pieces should be mentioned: the row of fingernail impressions on a Black-Burnished sherd from Nemea (9:13), the fine stamped circles on a Lerna sherd, and the frieze of slashes around the small ‘crucibloid bowl’ from Nemea (8:21). Stone Vessels: EN/MN

Cordons. 2:8; 9:7,14 Another Late Phase feature which becomes more popular in Period II is the long, thin applied cordon, half-round or sub-triangular in section. At Lerna it is used to form a zigzag (2:8. Cf. Nemea, Blegen 1975, pl. 64), and in another case a long curved pattern. Examples from Ayioryitika and Phlius, include two parallel cordons (Biers 1969, pl.114:23). The slashed cordon from Nemea (9:14) is unique for Period I. This form of decoration may be commoner in Central Greece. at Elateia single and double cordons are used to make simple lines and wavy and zigzag patterns (Elateia, 171).

Eleven fragments of marble bowls were reported by Jacobsen from Franchthi (1973a, 256, fig.1). Seven were from EN or EN-MN levels, two were early MN, one was MN and one from a mixed deposit. The rim of 1973a, fig.1:1 and the disk foot of 1973a, 1:5 are Period I traits in the Peloponnese. Like the White Ware bowl from the same levels (13:13), which there is reason to suppose imitates stone (see p.42), and the morphological features of which are also more Period I than II, the stone bowls were almost certainly imported.9 They are from the Early Neolithic stratum at Franchthi. I do not know which Franchthi levels the stone bowls are from, but Jacobsen's Middle Neolithic begins rather earlier than my Period II (see p.43). The wider chronological implications are discussed later.

Grooving and Ribbing. 2:7; 3:2-6,15; 9:12,15. This uncommon but characteristic Peloponnesian form of decoration has been found at Nemea, Tarsina and Lerna. It was used chiefly on the fine glassy-burnished black or tan bowls, and in one or two instances on red slipped bowls. It consists of one or more parallel, shallow grooves which have been pressed rather than incised into the soft clay, so that a low rib is formed between the grooves (e.g. 2:7; 3:3,6). No whole examples are preserved, but the patterns are rectilinear, or formed from groups of slightly curving lines (3:4,5), the latter being more typical of Lerna. One sherd from Lerna has a triple zigzag (9:12), but the most elegant example is 3:15, from Nemea. Bowls with this decoration commonly have a lip groove as well. Fig. 9:8,9. shows two unusual variations from Lerna, and 9:15 is the only example known to me of a sharply incised groove. One or two sherds of grooved ware appear in the lowest Lerna I levels, so it may begin in the Early Phase, but is commoner in the next.

Walker-Kosmopoulos reports a number of sandstone and coarse marble fragments from her Period II deposits (1948, 47; figs.24,25). Two miniature stone vases from ‘the Sparta area’ are in the National Museum (Theocharis 1973, figs.209,210). One is a medium convex footed bowl, like 3:7, with a rim-groove and four perforated belly lugs, and the other a tall pedestal bowl like 12:9. The first is a late transition I/II shape and the second rather II than any other Period: the most likely date would be end of Period I or early II. And perhaps their most likely source is the same as that of the five stone figurines with the same alleged provenance, Kouphovouno. Only one source of marble is known in the Peloponnese, at Doliana in Arcadia (Howell, 1970, 93). If the stone is not from there, then they must have been imported, like the figurines found at Alepotrypa, and which, for the reasons given below, are probably later. But the provenance of the ‘Sparta’ vessels and figurines is suspect and too much weight cannot be given to them as evidence, especially as there is no Period I material from Kouphovouno. Local antique dealers and agents in Greece have a wide network of contacts among the farmers, and there are a number of Late or Final Neolithic sites in Laconia.

I know of no parallels outside of the Peloponnese except for the Nea Makri grooved ware, on which the grooves are sharper, narrower and filled with white paste (Pantelidou 1995, fig. E).8 The patterns are more crowded and complicated in many cases (Pantelidou 1995, fig. 52). On the other hand the shapes of the bowls on which the decoration was used are similar (Pantelidou 1995, figs 1, 3 etc.), and, for the reasons to be discussed later, should be roughly contemporary. Some cross inspiration is not improbable.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Typically Central Greek are the frequency from the earliest levels of collar jars with flaring necks, the more complicated pellet patterns, the fine thick white and cream slips, the painted rim friezes inside bowl rims, the popularity of open straight-walled bowls, the bevelled and notched rims, and the oval-mouthed bowls.

Summary and Comment The overall general similarities of the early pottery sequence in Greece need no emphasis. But lack of sufficiently documented reports makes a close examination of the rather more interesting and significant regional dissimilarities difficult. Some have already been mentioned, but a short summary of the principal differences in the regions immediately north of the Peloponnese is useful, because it is just these differences that reveal the degree of cultural divergence already reached by the end of the Early Neolithic period. Exclusively Peloponnesian are the bowls with strutted spouts, askoi, husking bowls, crucibloid vessels, rib-andgroove ware, and the transitional brushed and smeared slip. Characteristically Peloponnesian are the fine buff and black bowls and the popularity of black monochrome burnished wares, the knife-edge lip, the proto-carinated shoulders and bellies, the rarity of inside painted decoration, and the large solid motifs. Exclusively Attic are the Nea Makri white-filled incised decoration and the nail impressed lugs. Characteristically Attic are the large plain lugs, bead rims, thickened rims or upper walls, and the overall pellet decoration.

Features in the Peloponnese, Attica and Central Greece unique enough to constitute evidence of direct contact between these regions (and estimates of uniqueness are subjective) are few. Among them may be mentioned the added white margins of red solid triangles at Nemea and Chaironea, the painted rim frieze inside a bowl from Tarsina, and perhaps the anthropomorphic feet from Lerna, Nemea and Nea Makri. They lend support to Weinberg's belief that two sherds from the lowest Elateia stratum (1962, 171) may be Corinthian imports. Two white limestone button seals and a lentoid bifacial seal from Nemea are also interesting (Blegen 1927, 440; 1975, 272, fig. 69:1), since such objects are as relatively rare in the Peloponnese as the figurines, but like the latter are common in Thessaly and beyond.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

PERIOD II: Middle Neolithic

My Early Phase is taken to cover the first three Lerna II strata, J A to C; the Middle Phase occupies the rest of Lerna II and most of Jacobsen's 'high period'; and the Late Phase is well represented in the upper Franchthi strata, until the time when Black Ware starts to peak and Matt Painted makes its appearance. The division into phases is a useful convention to illustrate the development of the pottery and its connections, but there can be no sharp division between them (cf. Franchthi I, 49-51, 54: the disturbed stratigraphy did not permit a more precise separation). Certain shapes appear to continue throughout, and many others span two of the phases. To describe a shape or style as characterising one phase does not mean that something hardly distinguishable will not be found in another phase; it is a question of frequency rather than exclusiveness of occurrence. Some of the attributions made here are firmly based on stratified groups or chronologically limited contexts, while others rely, less surely, on the extrapolation of an apparent typological trend from an earlier datable context to a later one, which is not.

Introduction Period II begins with the appearance of true Neolithic Urfirnis ware as originally defined by Kunze at Orchomenos, and ends with the appearance of Matt Painted pottery. It corresponds approximately to WalkerKosmopoulos' Period II and Weinberg's Middle Neolithic. The pottery consists almost exclusively of the fine Urfirnis ware together with the coarser utility variety which accompanies it. Shortly before the end, Black and perhaps Black-on-Red wares come into use, but since they herald the start of Period III, of which they are characteristic, they will be treated there with the other contemporary wares of that Period. Jacobsen (1969, 363; 1973a, 264) began his MN Period earlier, with the appearance of the smeary red slip that I first identified at Nemea and used to characterise my transition phase. It precedes the appearance of the classic, obviously recognisable Urfirnis. In Franchthi I Vitelli has devised a detailed pottery scheme with a complicated terminology which is not readily applicable to my more traditional scheme. The Urfirnis category, however, is basically the same

Early Phase Most of the Period I shapes continue for a time, either unchanged or with minor modifications of detail, but there is a change of emphasis. Some shapes, like the open shallow ring-footed bowl (1:1) and the collar jar become commoner; others features, like the medium convex bowl with the knife-edge lip (1:12 or 2:4), Buff and Black monochrome, pellet decoration and groove and rib decoration, soon become rare. The concave foot is replaced by the ring foot. Carinations and gentle Sprofiles develop.

The fabric and appearance has been well described by Kunze (1931, 31), Weinberg (1937, 500) and Holmberg (1944, 42,49). It has been variously classified and labelled: by Walker-Kosmopoulos as Corinthian Brown Ware; by Kunze as Class D and part of Class G; by Blegen at Gonia as A I , B I and part of B III; by Blegen at Prosymna as B I, and parts of A III and B III; by Weinberg as II B; by Holmberg as Classes B I, B 2 and C 4; and by Caskey as Neolithic Glazed Ware. Its close technical similarity to the red-brown slip, from which it is not always easily distinguished, as well as the presence of both 'techniques' on the same sherd, has been commented on by most excavators: LWK, 17; Blegen 1931, 66; Blegen 1932, 371; Orchomenos, 32, 34 (his Class D includes the early and the late red monochrome); Weinberg 1937, 498; Caskey 1958, 137, note 22; Jacobsen 1973, 264. The general consensus of opinion on the unbroken development of Urfirnis out of the earlier red slipped ware has already been referred to.

Middle Phase Carinated bowls on ring feet or pedestals, which may be decorated with punched pellets, are characteristic, as well as piriform bowls, pitchers, low-collar jars, long tubular lugs and a more elaborate style of decoration - Caskey's 'later fine style' (cf. Franchthi I, 165). Not all of these features begin at the same time, and some had already appeared in the Early Phase. Burnishing becomes commoner, apparently, and the careful regularity of the strokes, still barely visible to the eye, anticipate the deliberate stroke-burnish style of the next phase. Cut-out pedestal decoration probably belongs mainly in this phase.

Period II can be divided into three phases on the basis of stratified deposits at Lerna and Franchthi. Caskey hinted in his preliminary report at the existence of an earlier and a later style of decoration, and Franchthi has now produced abundant evidence for a third, late, Phase which is scarcely found at Lerna (Jacobsen 1973, 266). The development of Urfirnis ware based on the Franchthi material has been treated in detail by Dr K. D. Vitelli (1974, and Franchthi I).

Late Phase The indications are that most of the shapes continue, while carinated bowls become shallower and more

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

angular, like 16:3 or 18:16, and S-profiles more pronounced (Jacobsen, 1969, 367). There is a sharp decline in the proportion of painted, and an increase in that of stroke and scribble burnish decoration (Franchthi I, 79). The new Black Ware is common enough by the end of the phase to form a separate class, at least at Franchthi. The manner of its first appearance at this site and the range of its shapes need careful study, because they may illuminate a moment in Greek prehistory which, for want of stratigraphic evidence, remains obscure everywhere from the Peloponnese to Western Macedonia: the transition from the Middle to the Late Periods. MN Site List

Inland Arcadia 19. Loukas-Rakhi t’Ampelia 20. Tzivas-Goumouradhes 21. Vourvoura-Analapsis 22. Karyai-Derveni 23. Ayioryitika 24. Asea Laconia 25. Kouphovouno 26. Kouveleïki A Cave 27. Apidia

Map 2 (fig. 63)

28. Alepotrypa

(For a fuller list of sites, all of which I have not been able to verify, see Sampson 1997, 352-356). The sites are marked E, M and L according to the phases represented at them, or left blank if these are not known. The list is based on my interpretation of the evidence available to me, and uncertain sites that I have not been able to confirm, or sites quoted in the past, where there is good reason to suspect the identification, like Ay. Strategos or Malthi, have been omitted. Surface finds in the BSA are so marked. A bracket means barely or doubtfully represented. North Coast 1. Akrata (Krathion) 2. Tarsina EM 3. Zevgolateio ? 4. Corinth 5. Gonia (E)L Inland Corinthia 6. Nemea Nemea Valley 7. Phlius 8. Klenia

E

L

Inland Argolid 9. Berbati 10. Mycenae

L

11. Prosymna

E

Coastal Argolid 12. Tiryns

13. 14. 15. 16. 17.

Aria, Asine Franchthi Argos Kephalari

18. Lerna

Messenia 29. Koufiero Cave 30. Nestor’s Cave 31. Pontiko Kastro

E E E E EM EM

Howell 1970. Howell 1970. Howell 1970. Howell 1970. Blegen 1928. Holmberg 1944.

(E)ML Renard 1989. L Koumouzeli 1995, 144, fig.23:44. Waterhouse 1960, 86, pl.18 b:9. L Papathanasopoulos 1996.

Zachos 1987, 15, fig. 35. MacDonald 1961, 243. MacDonald 1961, 244.

Fabric EML AAA 1 (1968) 138. BSA (Haritonidis 1967). BSA see p. 14. Blegen 1931, 55.

The high quality of Urfirnis pottery has been often enough remarked on. Because it is relatively uniform wherever it is found, a simple description will suffice. It does not present the variety of hardness, texture and colour of the Early Neolithic fabrics, although there are naturally minor differences and degrees of fineness. For practical purposes it can be divided into two classes: the fine, which makes up the majority of the pottery, and the coarse, itself of a high quality, which forms a lower proportion of the total than in any other period, although it increases markedly towards the end of the period. For this and the finish, see Vitelli’s most recent and comprehensive study in Franchthi, 135-144.

Blegen 1926 (1927; 1975). Cherry at al. 1988, 163, 172. Blegen 1924 (Biers 1969). Syriopoulos 1964, 24.

Säflund 1965, fig. 105. (Caskey 1960, 159, n.8; French 1970, fig. 6). Blegen 1937, figs. 620, 621, 623.

The fine fabric is dense, hard and slightly granular, with tiny white grits and sometimes a little fine gold mica and darker inclusions. The grits may be few or many, but are evenly dispersed throughout the clay. The filler and the granular texture distinguish it from the typical fine EN fabric; the contrast between the two, when they are found together in the same lot, is striking, and one wonders that two such different manners of working the clay as the appearance of the fabric suggests should have coexisted in the same community, as they appear to have done in the case of the transition phase.

Müller 1938, 5, fig. 1, pl. I:1,2,6; French 1970, 21, fig. 1:1,2. Aria, 57-59, pls.4,20,51. Johnson, forthcoming. EML Franchthi I. ML BCH 1967, 814. ML Felsch 1971, 1 f; 1973, 13 f. EM(L) Caskey 1954-1959.

The colour of the fabric is predominantly red, ranging from pale pink to a deep brick, although buffs and tans are not uncommon. The only regular exceptions are pots that

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

have been reduced in the firing to grey or black. These become more frequent in the Late Phase, but are found from the very beginning. Occasionally a dark unoxidised core is visible. The fabric is characteristically hard and clinky. It was employed for every sort of vessel, even the large storage jars.

figs.29; 30:a) and has been sufficiently described. It is however more likely that the characteristic ridging and drag marks on the inside surfaces are caused by the irregular edge of a sharp tool, no doubt of flint or obsidian, than by the action of the grit filler in the clay. The outside generally, and the inside of open bowls, was subsequently smoothed and sometimes burnished. For a detailed discussion of Urfirnis techniques, see Franchthi 1.

The coarse fabric is much the same as the better spongy ware of Period I, hard and finely porous, in colour brick, dusky buff, or dark, and often mottled. The larger white grits have often not burnt out in firing and some are generally present. For a description of Urfirnis ware, see also Vitelli 1974 and Franchthi 1.

Slip A high proportion of the pots were slipped over all or part of the surface. A rough estimate by Jacobsen puts the figure at 70% for the Middle Phase (Jacobsen 1969, 366). Even husking bowls were normally coated on the outside, and only the inside of closed narrow necked vessels was left plain.

White Ware This is rare in the Peloponnese and not identical. A I.E. Straight rim from Corinth has an ash-white fabric with some gold mica inclusions and a low-burnished surface; the painted decoration of thin multiple zigzag lines is of a curious mauve-brown to beige colour (cf. Lavezzi 1973,21: White sherds from the Babbius Monument, “but not seemingly Nea Makri.” C-68-329). The shape and the inside rim painted band are usual in the Late Period I transition phase, and the context was a mixed transition and early Period II deposit. There is a ring foot in creamy white fabric from Klenia. At Franchthi several pieces have been found in early Middle Neolithic deposits (Jacobsen: verbal communication; Franchthi 1, 132). The clay is pale cream with fine red grits and pitting on the surface, which has a low, lustre-less burnish. One fragment is painted with the typical Period II motif of a broad multi-linear band with wide outer lines. The largest sherd is described below (13:13). One suspects that these were imported, like the fragments of white stone bowls, which 13:13, to judge by the thickness of wall and style of lug, is an imitation. The nearest source of white ware to the north was originally thought to be Nea Makri in Attica.9 At Kouphovouno there are several sherds in a pale pink to dove grey fabric with a cream surface, fine and hard, from globular jars and open bowls. One has a multilinear band with wide outer margins in chestnut paint, one a slip of the same colour, and another has a bright red slip. Two sherds from Nestor's Cave at Pylos are similar in fabric and colour to the Corinth example and contain gold mica, and one of them has a multilinear chevron in beige paint. White ware is probably the result of local experimentation, and need not be everywhere contemporary.

Colour The colour of the slip ranges from bright red or orange (69:3) to deep black (69:2), sometimes on the same pot. Commonest is a warm reddish-brown, streaky mahogany (69:16; Weinberg 1937, 501), which may be more red or more dark. A rough idea of the relative frequencies of the red, black and mahogany colours is given by the following count, based on 169 sherds noted at Corinth: 10% red, 14% black and 76% mahogany. The black slip is found on black, fully reduced, and on partly reoxidised dark red or buff, fabrics. It generally shows some, if only a little, streakiness. The black Urfirnis occurs in the earliest Lerna II stratum, but the first all-black slip on a black fabric was noted in J-D; the fabric and shapes of the three pots represented by the sherds are still typically Urfirnis, although the finish is more reminiscent of the next Period, and they stand out sharply from the rest of the material. The red slip has sometimes been put into a separate category. It is Weinberg's class II A at Corinth, Blegen's A Ia Red Monochrome at Prosymna and Ayioryitika, and Caskey's Red Slipped and Burnished ware at Lerna, which, however, may also be grey (Caskey 1957, 159). Superficially it presents a different appearance from the typical Urfirnis slip, since it tends to be naturally matt unless burnished (Weinberg 1937, 493; Caskey 1958, 137, n.22). It seems in fact to be a continuation of the late Period I red-brown slip, and is simply a red Urfirnis that has been burnished, and which for various reasons does not have the usual lustre. Caskey rightly pointed out that "it is not always easy to distinguish" from the normal Urfirnis, and noted, like Weinberg and Blegen before him, that the two surfaces occur together on the same vase. The distinction is technically artificial: the slip is chemically the same, as can be seen by examining the zone where the sintered and non-sintered surfaces met. Urfirnis of every

Finish The walls of the pots were pared and scraped to the desired thickness. The characteristic appearance of the inside of closed shapes is well illustrated from Corinth and Orchomenos (Weinberg 1937, fig.8 d; Orchomenos,

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

hue is often matt, although mattness is more characteristic of the Late Phase. Equally it is often burnished: both traits occur throughout the Period (cf. Caskey 1958, 137; 1956, 170). It has seemed best to treat the red slip simply as another variety of this very multifaced ware.

or else by the compaction of the surface clay under the burnisher, which renders it more resistant to reoxidisation (cf. Farnsworth and Simmons 1963, 391). It is noticeable that on less well burnished surfaces the slip is always dull. The second method is to burnish after slipping. This practice continues from Period I, and is not confirmed to the red slipped vases. By the Middle Phase it has become relatively common again. During the first two phases it is very inconspicuous because the process hardly affected the tone or hue of the surface, which remains quite even, but only the degree of lustre. If the surface is inspected at an angle to the light, the higher gloss of the strokes is just visible against the lower natural lustre of the parts untouched by the tool. Sometimes the tone is also modified. On a bowl from Lerna with the same profile as 13:2, the matt slip was red in the tool depressions while the ridges, which had been lightly stroked by the burnisher, remained dark - a reversal of the normal effect.

It may be that the relative proportions of Urfirnis colours change in the Late Phase: the statistical evidence is not available. There is however more of the dull, opaque brown Urfirnis which is generally lacking in lustre. Occasionally a thin ivory slip was used; several fragments were noted at Franchthi and Asea. At the latter site a number of the flaring-rim bowls have a white slip ground for the red triangles on the flat rim (18:11,14). Lustre The natural lustre of the sintered slip on the best Urfirnis vases is its most obvious characteristic, and led Kunze to coin the term Urfirnis in his publication of the Neolithic material from Orchomenos. It is similar in technique to the Early Helladic Urfirnis and the Mycenaean, Geometric and Classical 'glazes'. Like them the Neolithic Urfirnis may be so dull as to appear matt; the degree of lustre achieved depends on the fineness and chemical constituents of the clay slip, the thickness of application, the smoothness of the surface, and the firing conditions (Farnsworth and Simmons 1963, 389 ff). It is noticeable that few of the Franchthi vessels attain quite the degree of lustre exhibited by the best examples from Lerna, Asea (70:10) and Ayioryitika.

By stratum J-E these stroke-burnished sherds were plentiful. The strokes are still generally haphazard and may produce a scribbled appearance, although at the end of the Early Phase regular groupings of strokes already show more methodical working. In the Late Phase the strokes stand out more clearly from the ground and the effect seems now to become deliberate and controlled. At Franchthi there is a great increase in the late levels (Franchthi I, 139). It is characteristic of the material from Kephalari and other sites in Argolida. Elsewhere, at Corinth and Klenia in the north, and at Kouphovouno (70:1) in the south, the technique seems not to have been used so deliberately for decoration and the tonal contrast is less marked (cf. Jacobsen 1969, pl.97 c with Demakopoulou 1966, pl.150).

The variability of the lustre has often been noted. Where the coating is thick it may have a crusty surface. If the surface has not first been well smoothed or burnished, the slip will be matt; this is most apparent on the inside of closed vessels or the outside of shallow pedestal bowls. Even on the same surface there may be a difference in degree of shine, according to its application. The percentage of matt or near matt sherds is highest at the beginning and end of Period II.

In Lerna J-G there were several Urfirnis PatternBurnished sherds, including two neatly patterned piriform bowl rims. The other known examples from Lerna were found in the upper mixed fill. In some cases the burnishing was effected on the slip itself, as described by Farnsworth (1963, 363). She, however, examined only one sherd of this kind, from Corinth, and others look more as though they had been burnished before the application of the thin slip. On these the slip is even and transparent, so that the fabric shows through clearly. The burnish strokes stand out strongly as darker reds on a red fabric, or as black on a dark fabric, but even on the most contrasty pieces not the slightest depression can be observed in the surface by the naked eye or hand glass, and the even, uninterrupted, lustre gives no indication. A thin section study would no doubt give the answer; meanwhile it seems to me probable that in many instances the slip was put on over the previously Pattern-Burnished surface, thus levelling up the depressions. Applying a thin almost transparent slip over the painted decoration is a

Burnish This technique is employed in two ways. In the first the surface is lightly burnished before slipping. Where the slip is thin and the tool marks have not all been eliminated, they show through clearly, producing a streaky effect. The strokes may be horizontal or vertical, or make a pattern of short curving lines, as in 23:62. An example of the latter appeared already in Lerna J-C. These strokes differ from the "brush" marks, which may often be seen to run across them. The black streaks are caused by the slip lying thicker in the surface depressions,

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

common feature of Middle Phase vases, so this technique would not have been an innovation (cf. Franchthi 1, 146147).

one from Gonia with Matt Painted lines, are probably Late, although the chronological value of these traits is not certain. But there is no reason to doubt that the shape continues. Akrata; Corinth; Gonia; Prosymna (Blegen 1937, fig.624:1); Lerna; Ayioryitika; Asea (Asea, fig. 55 a-d); Loukas (Howell 1970, fig.2:1). All Phases

Period II Shapes. Figs. 11-24 Shallow Bowls: Open Bowls Shallow (OBS) and Closed Bowls Shallow (CBS). Shallow Bowls: Open Bowls Shallow (OBS) and Closed Bowls Shallow (CBS). For explanation of abbreviations see p. 27). O.B.S. Convex 3. (saucers) 11:2,13 Corinth.

7 ex.

O.B.S. Straight 3. 11:1; 69:23 Corinth; Ayioryitika.

4 ex.

O.B.S. Concave 3. 11:3,6. Corinth

4 ex.

O.B.S. Straight 2. 11: 9,11,15,16; 12: 2,5,9; 77:6. 31 ex. A dominant type merging into Concave 2 and Convex 2 forms. The wall may be straight over most of its length (11:9), or for only a short way below the lip (11:11). It is perhaps the most frequent shape among the highpedestalled fruitstands. Square-cut rims occur, but 11:16 is unique. 11:10 is from an early Lerna level; 19:9,15,16 are unstratified, but examples from other sites are painted in the developed style. The large spur lug of 11:15 is a Kouphovouno speciality and should be Late And the cutout pedestals of 12:5,9, a form of decoration I did not notice at Lerna, are also probably Late. All Phases Akrata; Corinth; Klenia; Franchthi (Jacobsen 1969, 97, top); Argos; Lerna; Kouphovouno; Tiryns (Müller 1938, pl. I 1).

These very shallow forms are not uncommon at Corinth, although I have seen only one from Ayioryitika; they occur at Franchthi (Franchthi 1, figs. 77-79; 122 b). The concave form merges into the straight. One of the convex and several of the other bowls have square rims (11:13), and that from Ayioryitika has a square rim with a longitudinal groove, giving it a fish-tail profile in vertical section. Some have conical lugs on or close below the lip, like 11: 14,17, and all were probably set on ring feet or pedestals. There is no direct evidence for their chronology; the convex type appeared at Nemea late in Period I, so the shape appears early. On the other hand, at those sites from which Late Phase material is absent or very rare—Lerna, Ayioryitika and Asea—this shallow bowl is virtually unknown, and it is common in Period III. This suggests, as does the streaky finish on some, that many of them are Late. Probably all phases, but especially Late

O.B.S. Concave 2. 11:5; 12:12 9 ex. A variation of the Straight 2 form, in which the upper wall curves gently outwards, and merges into the Medium form, from which it cannot be distinguished in small fragments. 11:5 is from the first Lerna II stratum. The great Franchthi bowl (12:12) is Late Corinth (Weinberg, 1937, figs.9,10); Franchthi (Jacobsen 1969, fig. 6:2); Lerna. All Phases O.B.S. Convex 1. 12:6. 7 ex. The Period I hemispherical bowl almost disappears in Period II, and these examples are best regarded as variations of the dominant rather more open forms. Two small ones come from Lerna J-A, and the Corinth and Tarsina examples are in a ware that is very close to that of Period I. 12:6 could be Early or Middle. Two large bowls from Kouphovouno are, from the decoration, Middle or Late Tarsina; Corinth; Lerna; Ayioryitika; Kouphovouno. Early, Middle and probably Late.

O.B.S. Convex 2. 11:4,7,8,10,12,14; 72:4 21 ex. A dominant type, which continues from Period I. It comes in all sizes and with every type of foot, from the early 11:10 to the full pedestal. 11:7 (Forsén 1996, 54, no.31) is a typical bowl. The great pedestal-bowl from Asea (Asea, fig.55 a,b, which has the same profile as 11:4, is exceptional, having a diameter of 39 cm, and with thin walls varying between a minimum thickness of only .004m and a maximum, towards the rim, of .005m (see fig. 24:7 for the decoration). The foot was probably L. Conical lugs are frequent, and the lips may be round, tapered or square (11:14).

O.B.S. Straight 1. 12:1,2; 71:2. 8 ex. Difficult to distinguish from the Medium form in small fragments, but two large ones from Corinth, the Akrata bowl (12:1) and several small cups from Ayioryitika (12:2) and Tarsina are sure. One miniature example from Ayioryitika has a diameter of .080m. Two from Tarsina are in early, transition wares; one of them, with a cream slip outside and fine cross hatching inside, has the gritless fabric of Period I. A similar one

The shape is common in early Lerna levels, and the decoration of the Asea bowl and others set it firmly in the Middle Phase. Two from Corinth with Polychrome decoration (11:4; Weinberg 1937, fig.18 f), and a large

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

from Ayioryitika has the same overall fine cross hatching inside. There is no reason to suppose any of them are Late. Tarsina; Corinth; Ayioryitika; Kouphovouno. Early; Middle.

Corinth; Franchthi; Ayioryitika; Asea. Probably all phases: rare. O.B.D. Concave O. 13:12. 1 ex. The only example I know of a tulip-shaped vase, but in small fragments it could easily escape notice. It comes from the highest undisturbed Lerna stratum, and its black streaky lustre is typically late (like that on 15:9). The plastic cross is another type of mark, rather than decoration. A similar shape comes from a Middle Neolithic house at Sesklo (Theocharis 1967, pl.5 b). Lerna. Late.

Simple Medium Bowls O.B.M. Convex 1 12: 3,4,11. 3 ex. The Period I convex bowl is replaced by straight, shouldered and carinated forms, but the occasional one may turn up at any time. 12:3 from Tarsina is, from the fabric and paint, a transition type; 12:11 is from a transition level at Franchthi; and 12:4 is a typical Late stroke-burnished piece from Kouphovouno. Tarsina; Franchthi; Kouphovouno. All phases: rare.

Simple Closed Bowls. The closed shallow bowls that were a feature of Period I are no longer found. The shallowest shapes in Period II belong to my Medium category.

O.B.M. Straight 1. 12:7,8; 13:1,4; 69: 25,32. 16+ ex. Dominant form with considerable variation in size and proportions. They range from small cups like 12:8 — and there are smaller examples — to large bowls, and may have round bases or ring feet. A few from Corinthia with early fabric and finish have an everted lip (like 13:8). The shape is common in Early Phase contexts, and the decoration of Zervos, 324 looks Middle Phase. Akrata; Tarsina; Corinth; Gonia; Klenia; Lerna (Zervos, 324); Ayioryitika. Early;Middle.

C.B.M. Convex. 13:13; 14:1,3,4,6. 12+ ex. This dominant Period I form plays a minor role in Period II. There are variations with more or less closed mouths, but the number is too small to justify subdivisions. 14:3 from an early Franchthi context has the bead lip often found on Period I bowls from that site. 13:13 from Franchthi is in White Ware, and neither the fabric nor the miniature perforated lug look Peloponnesian; this and other fragments of White Ware come from early Franchthi levels. In view of the small repertoire of shapes noted at Klenia, there is a surprisingly large number of these shapes from there. 14:1 from its finish should be Late, and there is a coarse-ware bowl with a large ledge-lug in the uppermost Lerna stratum. Corinth; Klenia; Franchthi; Lerna (Caskey 1959, pl.41 c); Asea. All Phases

O.B.M. Straight O. 13: 2,3,8,9,10,11,14; 15; 73:4 Dominant form, exceedingly common at Lerna. The "deep" form (13:11) is included here as it is difficult in practice to distinguish from the Medium and may be only an infrequent variation. The characteristic vessel is a small cup with round or slightly flattened base (13:2,3,9). They are generally undecorated, but many at Lerna carry painted or plastic 'marks' (e.g. 13:2,3, and see below). In Corinthia some have the everted lip of 13:8, an Early trait. The medium sized bowls are usually painted.

C.B.M. Convex A. 14:2,2. 4 ex. A variation of the previous in which the upper wall straightens towards the rim. It is a Late Period I form: e.g. 4:12, which is from a low Franchthi level. Klenia; Franchthi; Ayioryitika; Asea. Early

The type continues from Period I and is common in Lerna J-A. The larger bowls are perhaps commoner in the Early, and the cups in the Middle Phase; they appear to reach a peak in Lerna J-C and to continue. For the Late Phase I have no evidence apart from the little Kephalari cup (Felsch 1971, fig.1), but its frequency in Middle Phase levels at Lerna suggests that it must continue at least partly into the Late Phase. It is not a Period III shape. Corinth; Gonia; Kephalari; Lerna (Zervos, 325); Ayioryitika; Kouphovouno. All Phases

C.B.M. Convex, Shoulder. 14:5,15. A variation apparently confined to Lerna. 14:5 has the characteristic Lerna foot, the profiled appearance of which is caused by paring the outside and the lower wall with a sharp tool; it is from a very early transition deposit and has a plastic mark. Others were noted in J-C. 14:15 is from J-E and Middle Phase, but most of them are Early. Lerna. Early; Middle.

O.B.M. Concave O & 1. 13: 5,6,7. 4 ex. Not a common form. The concavity of the upper wall is slight, and they are perhaps best considered as variations of the Straight walled or Carinated bowls. None were noticed at Lerna. 13:7 has a black slip, tan around the lip, which has been brushed onto a black Urfirnis type fabric, and is probably Late. 13:6 from Akrata looks Early.

C.B. Straight, Wide.14:7,8,9,10,13,16,17; 17:6;78:6. 30+ ex. One of the commonest Period II forms, very variable in size and proportion. The wide-mouthed version is the dominant type. The small cups (14:7) with round bases merge into the open type (13:3). The large ones with long

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vertical walls merge into the piriform bowls. The curve of the lower wall may be more or less abrupt. The rim of 14:17 is unusual. 17:6 is intermediate between this type and the deep carinated bowls of 17:5,7, to the same phase of which it and others from Ayioryitika clearly belong.

Corinth (Weinberg 1937, figs.12 a,b; 13; Zervos, 318); ? Prosymna (Blegen 1937, fig.623); Franchthi (Jacobsen 1969, pl.96 c:1,2,4.); Lerna. Medium Piriform Bowl. 15: 5,7,8,9; 17:3; 72:2,5; 73:6. These are slightly deeper and more profiled than the previous. On some the rim flares outwards (15:9). 15:7 (72:2) is a cup like 15:6, but closer in shape to 15:8 (73:6), an unstratified coarse ware jar from Asea, which could also be from a later Period, but in shape, ware and lugs is typical of Period II.10 15:9 (=72:5) from Akrata has a twin at Franchthi which comes from a Middle Phase level, but the dark grey fabric of the Akrata jar, with black and tan streaky burnished slip is in technique a forerunner of the Black Ware. 17:3 from Franchthi is the only one with a pedestal foot preserved, but others may also have had pedestals or ring feet. Akrata; Corinth; Franchthi (Jacobsen 1969, pl.95 c); Lerna (Caskey 1958, pl.38 d); Asea (Asea, fig.62 b); Kouphovouno. All Phases

These are well stratified in the first two Phases. There is one each from Corinth, Franchthi and Kephalari in the Late Stroke-Firnis ware. 14:8. and 13 are BlackBurnished on a black fabric, the first being the earliest of the Black Wares noted at Lerna, from a Middle Phase stratum. Corinth; Gonia; Klenia; Franchthi (Jacobsen 1969, pl.96 c: 3); Kephalari; Lerna (Caskey 1937, pl.48 b); Ayioryitika; Asea; Tiryns (Müller 1938, pl.I: 6). All Phases C.B. Straight, Narrow. 14:11,14. ? A less frequent variation of the previous. 14:14 is stratified Early; 14:11 has a developed style of decoration (Weinberg 1937, fig.20 c). Corinth; Franchthi. Early, Middle, probably Late

Narrow Piriform Bowl. 15:1,3,4,10,11; 17:8,9; 72:1. The rim diameter of these is less than the height. 15:10 from Akrata has an Early looking finish and decoration. There are a number in Lerna Middle Phase strata, and 17:8 (Weinberg 1937, fig.20 a) like two from Lerna (Caskey 1958, pl.36 f) should be in this Phase. A typical patterned Stroke-Firnis jar from Kephalari is Late (Felsch 1971, fig.5). They often have four lugs around the belly. Akrata; Corinth; Prosymna (Blegen 1937, fig.623:5); Franchthi (Jacobsen 1969, pl.97 c); Argos; Lerna; Ayioryitika; Kouphovouno. All Phases

C.B.M; Concave; Piriform Bowls. 15:1-11; 17:6,3,8,9; 73:2. 60+ ex. The difficulties of identifying and classifying shapes from rim fragments is nowhere better illustrated than in this large group of closed vessels with S-profiled walls. I have drawn and noted well over 60 examples from different sites; their shapes range from 15:2 to 15:10. They are arbitrarily divided into three categories: Closed Bowls Medium, Concave (15:2,6), Medium Piriform Bowls (15:5,7,8,9; 17:3) and Narrow Piriform Bowls (15:1,3,4,10,11; 17:8,9). The three categories merge imperceptibly into each other, and the totals of each cannot be established with accuracy, but I have the impression that there are no great differences between them. It is probable that a close study would reveal minor chronological and geographical differences of shape and detail, but such distinctions must at present remain hypothetical. The differences between the categories depend on the proportions of the complete vessel; jars are deeper and more profiled than bowls. It is often impossible from a small rim sherd to tell how deep the vessel is or how wide at the belly, even where the diameter of the rim is known.

Flaring-Rim Bowls. 16:5,6; 18:1-16; 73:3. 24 ex. A characteristic Period II type. The rim is horizontal or angled upwards; the steeper rims merge into the lowcollar jar. Early forms are globular (18:1,3); in the later Phases they tend towards squatter and more carinated shapes, into which they merge. The development is well illustrated in the series 18:1 (Early) - 18:5 (Middle) 18:16 (Late). The last is from the Upper Mixed Fill at Lerna, and identical to one from Kephalari; both are covered with Late Stroke-Firnis. The rounded shapes also continue alongside the carinated; 18:15 is from an upper Franchthi MN level. 18:2 from Asea does not strictly belong in this category, but it is unique and closest to the general form. The shape, but not the ware, would be more at home in Period III. Unfortunately most of those illustrated are not stratified, but it is probable that all the carinated ones are Middle or Late Phase, and others can be dated by their finish or decoration. Corinth; Franchthi; Argos; Kephalari (Felsch 1971, figs.10-12); Lerna; Ayioryitika; Asea (Asea, figs.52; 53 a).

C.B.M. Concave. 15:2,6. This shape is intermediate between the previous, Straight, form and the Medium Piriform Bowl. It includes the small cups (15:6) which are virtually the same as 14:7,8, and are numerous in the Early and Middle Phase strata at Lerna and Franchthi. But there are also large bowls, although 15:2 is probably less common. Late cups are found in the typical Stroke-Firnis ware at Lerna and Franchthi.

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bowls like 16:12, with a Pattern-Burnished decoration that can only be Late. The only examples known to me with pedestal feet are from Franchthi. Akrata; Corinth (Weinberg 1937, fig.19 a,b); Franchthi (Jacobsen 1969, fig.6:3; pl.95 c); Asea. Middle; Late.

Carinated shapes These are typical of the Middle and Late Phases. The sharp carination develops out of the angular shoulder, and true carinations hardly occur at Lerna before J-D. Extremely angular and shallow shapes like 16: 9 and 18:16 are typical of the Late Phase.

O.B.M. Concave-convex Carinated 1. 16:4,11,13; 17:2; 70:1. 7 ex. A common variation on the above. The carination is not sharp. The shallow rounded bottom of 16:11 does not appear to occur on the concave carinated bowls. The shape is more frequent at Ayioryitika than elsewhere. Some from Ayioryitika should be Early, and 16:13 is from Lerna J-C, an Early stratum and 16:4 is Middle. There is no evidence for this shape in the Late Phase. Franchthi; Lerna; Ayioryitika; Asea. Early; Middle.

Carinated Dishes. 16:1,2, 2 ex. The only dishes I know are from Corinth where, Weinberg to the contrary, they do not appear to be common. The shape belongs much more to Period III, and there can be little doubt that these are very late II if not in fact III (cf. 26:2,3,5,7). Corinth (Weinberg 1937, fig.15 e). Franchthi (Franchthi 1, fig.87 c) Late II or Early III. O.B.S. Concave Carinated 1. 16:8,10 4 ex. These are all from Corinth except for 12:10: which could come from a deeper shape. It may be that these shallow bowls with everted rims are a local type. 16:10 from the decoration could be Middle or Late, but 16:5,8. should, on the typological grounds suggested above, be Late Their plain streaky finish gives no clue. Corinth (Weinberg 1937, figs.8 b; 11; 19 c.d; LWK 1948, pl.I b). Middle; Late.

O.B.D. Concave Carinated O. 17:5,7; 70:7; 73:1. This together with the concave-convex variation is the dominant type of carinated bowl in Arcadia. From Asea Holmberg mentions fragments of at least thirty such vessels, and there are many from Ayioryitika. From Lerna comes the small burial urn, but I know of no other certain examples. On present evidence it appears to be a local Arcadian type, and it is not known in Late Phase contexts or wares. Lerna (Caskey 1957, pl.48 f; Zervos, 323); Asea (Asea, fig.49 a,b; pl.III a); Ayioryitika. Middle.

O.B.S. Concave Carinated O. 16:7. 2 ex. This is a classic Period III shape in Black Ware. The Corinth sherd has a thick dark matt slip out, and is rough in; the Kephalari bowl is in Late Stroke-Firnis ware (cf. 26:7,10, Black-Burnished). Corinth (perhaps Weinberg 1937 fig.15); ?Franchthi (Jacobsen 1969, pl.97 c, bottom); Kephalari (Felsch 1971, fig.9). Late II or Early III.

O.B.D. Concave-convex Carinated 17:1,4: 70,2,3. 2 ex. A variation of the previous type in which the wall above the carination has a very slight S-profile. The carination is often very gentle. It too is probably local Arcadian, and no doubt some of Holmberg's thirty deep carinated bowls are of this type. Ayioryitika; Asea (Asea,fig.54 b; pl.III b). Middle.

C.B.S. Concave Carinated. 16:3,9. 3 ex. These shallow bowls, only noted in Argolida, are also Period III shapes. 16:9 is from transitional levels in which Black Ware peaks, at Franchthi, and 16:3 is late, with a fragmentary Pattern-Burnished decoration like some found on the White-on-Black painted ware. Franchthi; Tiryns (Müller 1938, pl.I:2). Late II-III.

Collar Jars One of the innovations that characterise the Early Phase at Lerna is the rapid increase in the number of collar jars together with the rarity of neck jars. Collar jars have been divided into Low-, Medium- and High-Collar forms, because the changing proportions among these categories appear to have some chronological significance. From a rim sherd, when the size of the body is not known, one cannot always tell whether the collar is relatively as well as absolutely high, but the use of a simple, absolute measurement produces a classification sufficiently consistent for comparative purposes. Within each of these three categories there are also Wide- (19:10) and Narrowmouthed (19:6) forms, with wide, globular (20:16; 21:12) or narrow, bodies (20:14). The complete shapes are little known and the typology has to be based on rims. Some of the collar jars are tiny and would have had quite a different function from the larger ones.

O.B.M. Concave Carinated O. 16:12,14,15; 71: 3,4: 12 ex. A dominant type with some local variability in its proportions. There are no complete examples from Corinth, but many sherds that must come from this shape. The Franchthi bowls have relatively shorter sides and deeper bottoms. It seems to be scarce in the south, on the evidence from Asea, where there are only two or three possible fragments, and from Ayioryitika, where none were noted. At Lerna there is a huge bowl from a Middle stratum like 16:15 but with a more flaring rim and a diameter of .400m. There are two sherds from Corinth of

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Low-Collar Jars. 19:1-6; 69:7,12. 40+ ex. 25 are of the wide-mouthed, and 15 of the narrowmouthed varieties. The same numbers apply to the vertical and everted rim proportions. They may have round bases or ring feet; it is a peculiarity of some Lerna jars that the round bottom has sagged below the line of the ring foot, making them rather unstable (19:15). Four perforated lugs, simple or tubular, are common, but strap handles are unknown. There is a great variety of shape, proportion and, no doubt, function.

unusual, much in the Boeotian tradition. Some have strap handles from collar to shoulder or on the shoulder (Franchthi) but the ornamental knobs on 20:18 are unique in the Peloponnese, as is the inside decoration of 20:10. I noted 9 in Lerna J-A, but they are much less frequent in the later strata. I have no evidence for the Late Phase, but they may well have continued; certainly they are common enough in Period III. Tarsina; Corinth; Franchthi; Lerna; Ayioryitika; Asea (Asea, figs.54,56).

They are rare at the beginning: in Lerna J-A only 2 were noted, and they do not begin to be common until J-D, after which they become the dominant Middle Phase type. There are a number of restored jars from stratum C in pit BD, which suggests that BD-C is a little later than J-C. Some are exceedingly small and fine. I have no direct evidence for the Late Phase. A superb example from Alepotrypa (Papathanasopoulos 1996, 220) would be much more at home at Kouphovouno. Corinth; Gonia; Klenia ; Prosymna (Blegen 1937, figs.623:1; 624:3); Franchthi; Lerna (Caskey 1958, pl.37 d,e; Zervos, 320); Ayioryitika; Asea; Kouphovouno, Alepotrypa (Renard 1989, pl. XXX: 1,2). (Early); Middle; ?Late

Pitchers / Askoi 21:1-6,8,9. 16+ ex. I originally assumed that a class of oblique oval rims and the shoulder sherds which seemed to belong with them came from some sort of pitcher, since the mouth was clearly designed for pouring. There are no complete examples or even sizable fragments, although rim and shoulder sherds are not especially rare. They are easily confusable with collar jar rims (cf. LWK, pl. III a). The neck may be high or low; the mouth is oval or ovoid, without a pronounced spout, since none have been observed. The rim rises in a straight or curved line from the lowest point, where it is joined to the shoulder by a strap handle, towards the pouring end. The latter may be rounded or slightly angled. The neck-shoulder junction is very often defined by a diagnostic, finely scratched line, which must have been functional rather than decorative— perhaps to assist in placing the painted decoration—since it is generally covered by the painted neck band. The fabric, thinness of wall and decoration set these among the finest pieces of Urfirnis pottery. Vitelli (Franchthi 1, 178-179, fig. II) has shown that at least some of these rims belonged to askoi. 21:2 is from FCP 2.5, which is a late MN phase in the Franchthi context; 21:3 is from a Middle Phase stratum at Lerna. The fine decorated examples from Ayioryitika cannot be dated, but are perhaps likely to be Middle MN, like Caskey 1954, pl. 10 e from Lerna. I noted two or three examples from Elateia in the Chaironea Museum: one just like 21:1, but in Black-on-Red ware, and another with a profile like 21:9, but angled into a spout like 21:10 in plan; the fabric was typical Urfirnis with a low-lustre red-brown slip of the kind so common at Corinth in early Period III deposits. It is just possible that 21:10 also represents a spout from an askos (see below). Corinth; Franchthi; Lerna; Ayioryitika. Early, Middle; ?Late phases.

Medium-Collar Jars. 20:1-9,11,13,14,16; 77:2,9,11. 40+ ex. This category has collars between .025 and .050 m high. 33 of those noted have narrow mouths, and the widemouthed variety is less so than many of the low-collar jars. 23 have vertical, and 12 slightly everted collars like 20:7,8, but rarely to the degree that is usual in Central Greece. Complete profiles are few, and little can be said about body shapes, except that globular (20:16) and narrow (20:14) forms exist. Some had lugs on the belly; 20:16 from Lerna had a plastic mark, like the cups, and some had strap handles from collar to shoulder. At Lerna one or two have internal ledges (cf. 21:19), presumably to take a lid. 8 were noted in Lerna J-A, so they may be taken as common in the Early Phase, and there are rather more in the Middle Phase. 20:5 with the rarer inturned collar, is from a Late Franchthi level, so the type continued to the end, but in what numbers I cannot say. Corinth (Weinberg 1937, fig.16); Prosymna (Blegen 1937, fig.624:4); Franchthi (Jacobsen 1969, pl.95 b, left); Lerna (Caskey 1958, pl.37 f); Ayioryitika; Asea; Kouphovouno. All Phases.

Large Storage Jars. 21:7 This is really a particular class of large piriform jar. They are all well made and slipped, but not apparently decorated. They often have large dribbles and splashes of slip on the inside. The lip is always cut off square, and there are strap handles set well down below the rim. They are stratified in the Early Phase at Franchthi and Middle Phase levels at Lerna, and are widely found elsewhere. I

High-Collar Jars (collars >.050m) 20:10.12,15,17,18,19; 76:4. 21 ex. 13 are vertical (20:12), 6 everted and 2 inturned. Some of them seem to be from large vessels, like one from Franchthi (Jacobsen 1969, fig.6:4). 20:15 from Tarsina is

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have no evidence for their use in the Late Phase. Nemea; Corinth; Franchthi; Lerna; Ayioryitika. Early;Middle.

comes from an Early Phase stratum at Lerna (Caskey 1957, pl.48 d). 21:16, from the way it is painted, appears to be a strainer lid, but it could have been used the other way up; typologically, if taken as a foot, it would be very Early. 21:18, unstratified from Lerna, is the rim of a small cup, like those in fig.8 from the Early Neolithic. The low lustre red slip could indicate a transition ware to Period II, but the rectangular section of the handle is typical of the latter. It is surmounted by the plastic representation of a nose and two eyes. 21:10,11 are curious rims with a slightly angled spout or corner. One or two are known from Corinth and Franchthi; they are not all identical and the shapes they come from are not known. The corner of 21:11 has been thickened; below the shoulder, and below the plastic strip of 10, the angle is lost and the curve is smooth. Another from Corinth, like 21:11 in profile, has a vertically perforated lug on the corner, just below the lip; 22:2 may be from a similar vessel. 21:10 could be the spout from a pitcher. Walker-Kosmopoulos’s reconstruction (1951, pl.3 b) is difficult to reconcile with the obtuseness of the angle. A curious, tubular-bodied, four-footed rhyton with a long basket handle is published From Lerna (Caskey 1955, pl.23 d). Finally, from Ayioryitika, comes the fragment of a hollow elephantine foot with painted decoration; it seems to be from a vessel of some sort rather than a figurine (21:20).

Husking Bowls. 21:13; 70:8. Asea, fig.45; Jacobsen 1969, pl.96 a; Caskey 1957, pl.48 e; 1958, pl.38 b; Howell 1970, fig.2:14. pls. 29 d; 30 c. This characteristic vessel continues from Period I, but the 'breccia' ware is now less frequent and the fabric is more usually of the normal coarse variety. The shape is a slightly closed, convex-sided bowl with very thick walls, and the lip is in most cases cut off square. The bottom is rounded and may have a low ring foot. The outside is often slipped but not decorated; a rim from Ayioryitika has, exceptionally, transverse grooves on the flat lip. The inside is covered with deep scoring, but this may not extend right up to the rim, and it may be quite haphazard or display some regularity, like 21:3. Asea, fig.45 depicts a good selection of sherds. The surface around the bottom often shows signs of use and wear. They are found on all sites and are common in the first two phases. At some time, perhaps in the Late Phase, they cease, because there seem to be none in Period III. Corinth; Franchthi (Jacobsen 1969, pl.96 a); Lerna (Caskey 1957, pl.48 e; 1958 pl.38 b); Asea; Loukas (Howell 1970, figs. 2:14; pl.29 d; 30 c).

Stone Vessels. See under Period I, p. 42

Dippers and Ladles. 21:14,15; 70:4; 78:4 8 ex. Fragments of these have been found at a number of sites. 21:14 (Asea) is a dipper like that from Franchthi (Jacobsen 1969, pl.97 b), but slightly larger. 21:15 is a handle fragment from a rather shallower utensil, more spoon-like; there are two more fragments from Ayioryitika. There is a handle fragment in Lerna J-A, and two pieces from Corinth; one like 21:15, and the other with a shallow curved bowl. Corinth; Franchthi; Lerna; Ayioryitika; Asea (Asea, fig.43).

Figurines. 78:1-3; 79:1-4 The complex subject of figurines falls outside the scope of this study, but some mention must be made of the main types because of their chronological and cultural implications. First, there is a class of standing, squatting or crosslegged fat female figurines, all but two in stone, and generally attributed to the Middle Neolithic (Weinberg 1951, 133; Renfrew 1969, 29). Only one is stratified, and few have a sure provenance. If the provenances attributed to them are correct, eight are from islands (Crete 2; Aigina 2; Amorgos 2; Naxos 1; Saliagos 1), five from the ‘Sparta region’ (Zervos, 113,119, 138,139,163), three from Attica (Eleusis, Zervos, 204; Patissia, Zervos, 145; Agora pl.14: 219), and one unknown (Weinberg 1951, pl.II a), which is virtually identical to the Patissia example. They are stylistically different from the figurines that can be certainly assigned on stratigraphic grounds to the Middle Neolithic, and such evidence as there is does not support a Middle Neolithic chronology for them. The Saliagos lady is from a Late Neolithic context; nothing has been found on Aigina, that I know, earlier than Final Neolithic; the Agora material is, with the exception of a handful of Late Neolithic sherds, all Final Neolithic; material contemporary with mainland Middle Neolithic is unknown from Amorgos and Naxos;

Triangles. 21:17. 4 ex. I have only seen these objects at Lerna. They are roughly right-angle triangles with a slightly convex long side. In section the plaque is slightly convex, like the segment from a large sphere, but they were made and finished as complete pieces. They may be slipped and decorated, and there are three holes on the long side for suspension or attachment. They look more like ornaments than utensils, and no doubt had prototypes in a perishable material. One fragment was in J-A and three in J-B. Banks (1977) suggested that they may have been Neolithic tangas or cache-sexes. Miscellaneous. 21:10,11,16,18,19,20; 74:25; 76:6,11. Under this head fall odd pieces that do not fit into any other class. 21:19 is a miniature squat collar jar with an internal ledge and row of holes around the rim, which

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no Neolithic is known from Eleusis; in the ‘Sparta region’ Kouphovouno is the only known Middle Neolithic site near Sparta, and both the Late and Final Neolithic periods are also represented there; and, finally, none of these figurines have been found on large Middle Neolithic sites like Ayioryitika, Asea, Lerna or Franchthi, where the quantity of excavated material is considerable.

cannot serve as more than a rough chronological indicator. A marble head and shoulder fragment from a low Middle Neolithic level at Franchthi, perhaps a stone version of the beaked rod-head (Jacobsen 1969, pl.99; one would like a profile view) is the only stratified head I know in the Peloponnese. Another from Akrata (79:2) is so close typologically to the clay head from there that their contemporaneity can hardly be doubted.

The above figurines in fact differ in many details and need not all be contemporary; more could be said of the techniques employed and the typological significance of the details of form and posture, but this is not the place. On the present evidence of style and distribution, I prefer to regard most, if not all of them as belonging to the Late or Final Neolithic Periods. See Talalay 1983 for the fullest study of Peloponnesian Neolithic figurines, and Phelps 1987 for more comments.

Other figurines from this period are of interest as illustrating the diversity of types to be found. The Lerna lady (Caskey 1956, 175-177) is unique among mainland figurines for its grace and slender proportions, in which respects it is reminiscent of the otherwise different marble man from Knossos (Evans 1964, pl.66). The recently found sitting figurine from Franchthi (BCH 96, 1972, fig.160) is unusual for its semi-reclining posture (Jacobsen 1973a, pl.52 b,c). See Phelps 1987 for a more recent discussion of the Corinth figurines, and the definitive publication by Talalay (1993) of those from Franchthi.

A second class of figurines is characterised by tall cylindrical or slightly tapering heads and beak-like noses. They usually have incised eyes, sometimes incised or painted hair, and more rarely an incised mouth. The considerable variation in the treatment of the heads may or may not imply chronological differences. The Kifisos valley in central Greece seems to have been a centre, and there are many in the Chaironea museum from Elateia and Chaironea - Magoula Balomenou (cf. Zervos, figs. 199202, 205-214). I know of only two in the Peloponnese, both unstratified but having the characteristic Urfirnis fabric and finish (Akrata, 79:1; Corinth, Weinberg 1937, fig.42). Bodies to fit the heads appear to be rare, and the discrepancy is greater than would be expected from the hazards of excavation alone. It seems to me likely that many of them never did have bodies, while others may well have been set on bodies of more than one type (e.g. Corinth, Weinberg 1948, pl.LXX; Prodromos, BCH 96, 1972, fig.252). Both the form and the treatment suggest stick prototypes. In Thessaly they constitute only one element in the wide range of figurine types which was produced in that region in great quantities. 154 were recently reported from one small excavation at Prodromos (BCH 1972, 694) and 160 from Achilleion (verbal information). For a wider Balkan distribution of similar heads, v. Nandris 1970, fig.2. None appear to have been found in the Early Neolithic soundings at Otzaki, where the predominant type, associated with the Magoulitsa phase of the Thessalian Early Neolithic, was the pearshaped figurine. At Otzaki both the Proto-Sesklo and Magoulitsa (the former Pre-Sesklo) phases are well represented, but not the full Sesklo (Middle Neolithic) period, nor the transition phase. But this transition phase is found at Prodromos, where rod-head figurines were also present, so one may assume that the type appears in Thessaly at the end of the Early, or beginning of the Middle Neolithic. Its chronological horizon seems to have been as broad as its geographical distribution, and it

Legs The commonest figurine fragments in the Peloponnese are legs. Of the 10 known to me, two are from Akrata, four from Corinth, two from Asea, and one each from Lerna and Franchthi. There is one instance of a pair of joined legs (Caskey 1957, pl.36 d,.e), and one of a leg with part of the torso still attached (79:3). The rest are all single leg-and- buttock fragments either broken or terminating at the waist. In the case of two from Asea (78:1,2; Asea, fig.111:8,9; pl.II k) and two from Akrata (79:3,4), there is no doubt that they were intended to be separate entities; the others are doubtful.11 The two from Asea have prominent buttocks and vestigial legs, now broken. They were modelled on a clay core and the inner (medial) sides were finished before firing in the same way as the outside; one with a slip, the other with a low burnish. 78:2 is complete at the top, but 78:1 is broken at that point and conceivably might have supported a waspwaisted torso, although I doubt it. The two from Akrata are rather different; the leg is well developed and the buttock proportionately less prominent, and they are standing. One is partly preserved above the waist and evidently had a torso and arms, since the remains of a hand with incised fingers still rests on the front of the thigh, below the incised pubic triangle. The inner side is straight and almost flat, and the surface, now worn, preserves faint traces of the same slip or burnish that covers the rest. A close examination of the angle where the inner and front sides meet shows that the interrupted pubic triangle incision was made, or at least retouched, after separation but before firing. The other Akrata leg (79:4) is broken at the waist. The area of the break is very

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small, and it is doubtful whether it had a torso. It too bears traces of burnish on the inner side, and was made as a half.

Bases and Pedestals More or less rounded bases are frequent, especially on the small cups (13:3), some larger bowls (14:15), flaring-rim bowls (18:5), piriform and collar jars (15:9; 20:16), and coarse-ware bowls (15:18). Very slightly convex bases are found on some carinated bowls (16:11). Apart from a few instances where the round base has been partly flattened (13:2; 16,13), true flat or concave bases are rare (18:1;22:11; Blegen 1937 fig.624:12:13) on fine wares (c.f. Jacobsen 1969, 363). There are one or two examples of disk feet, but none were noted at Lerna after stratum JB (22:12). Concave feet (22:13) as opposed to ring feet have virtually disappeared, although the odd one may turn up: there are one or two among the Tzivas-Goumourhades sherds, which, from their fabric and finish might be classified as early Urfirnis, and perhaps one at Prosymna (Blegen 1937, fig.624:10).

One from Corinth is similar to the first Akrata leg in having the remains of a hand attached to the thigh. The broken top is large enough to have supported a similar torso. Like the others at Corinth it was broken after firing. The break follows exactly the painted and deeply incised medial line which cuts both front and back, and the surface of the break is very smooth, although not quite flat. But the presence of the deep sharp incision and the regularity and smoothness of the break make it probable that the original pair was intended to be split into two halves. The Franchthi leg (Jacobsen 1969, pl.99 b) is sitting, like those from Asea , and the incised pubic triangle is filled with fine jabs to represent hair.

Ring Feet. 11:5,7,10,11,12; 12:1-6; 17:5-7; 22:14,17; 76:12 These, together with pedestals, make up the majority of all vessel bases. The difference between them is only one of height, and, since the terms are used rather subjectively in various reports, it seemed useful for this study to define them more closely. I have therefore called ring feet those with a height-diameter ratio of less than .2. On a few large vases, like 11:12, the foot might more logically be described as a low pedestal, but for comparative purposes the need for consistency seemed in this case to justify a certain stretching of conventional usage.

The purpose of these legs can hardly be demonstrated, but leaves ample scope for speculation. The preoccupation of society at this time with the theme of legs is further illustrated by the stone pendant from Franchthi, incised with the same motif used for the painted clay ones (Jacobsen 1969, pl.99 a). Three legs were found in the recent excavations at Servia, not unlike those from Akrata, and two of them had holes on the inner side by which they could be joined with a wooden peg to make a pair. They came unfortunately from mixed fill (Ridley 1972, figs.11 and especially 12, which is upside down).12

Ring feet continue throughout the phases and are the commonest. They are found on every shape of vessel including, on occasion, husking bowls. Since the foot was attached after the pot had been shaped, it is not surprising that many vases with ring feet also have round bottoms, which sometimes even project below the ring foot (c.f. 19:15). As the foot becomes higher function gives way to style, and the pedestal becomes simply an embellishment. The ring foot is also proportionately wider than the Period I concave foot. Whereas the latter rarely exceeds one third, and is generally about one quarter of the widest diameter of the pot, the ring foot averages one half, giving the vessel much greater stability. (Blegen 1937, fig. 620: 13,15).

Rims The average Period II rims are not distinctive. They are rounded and may have a slight taper, but the knife-edge lip of Period I is no longer found. Tapered lips are more frequent on the fine pedestal and carinated bowls (11:3; 16:13; 19:4). Square-cut lips. 11: 1,6,13,14,16. These are not uncommon on open shallow bowls or fruitstands. They are characteristic of the husking bowls and large storage jars. I do not know if the fine ware examples have a chronological or geographical significance, but there appears to be more at Corinth than elsewhere.

Pedestals For cut-out decoration, see p.60 Weinberg 1937, fig.8:3; Caskey 1958, pl.38 e,f; Jacobsen 1969, pls.95 c; 97 a; Blegen 1937, fig. 620: 12; 624: 11, 76:13;; Douzougli pl. 20: 4-6. The average pedestal whether high or low has a slight inward taper and gentle concave (22:28) or straight (22:24) sides. Some have a faint S-profile (22:32) and a very few are convex (22:27). Vertical sides, concave or

Everted Rims. 13:8; 14:9 A slight eversion of the lip is occasionally found on straight sided open or closed fine bowls; it is a feature that appears on late Period I bowls and is probably Early. Apparently commoner in Corinthia. Beaded Rims. 14:3 These are exceptional, and perhaps a relic of Period I at Franchthi.

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straight, are not infrequent and, exceptionally, the diameter may be smaller than the foot than at the neck (22:25,29). The taper of 22:24 is greater than the average, as is the flare of 22:28. Pedestals are mainly associated with open bowl shapes, but at Franchthi they were also occasionally employed on carinated bowls and piriform jars (Jacobsen 1969, pl.95c). The fruitstands tend to be large, as a glance at the table below will show (the diameter of the bowl may be taken as approximately twice the diameter of the foot). Over half of the 73 bowls measured had a diameter of between .150m. and .250m.; the largest one I know, from Corinth, is more than .320m. across. The relative height of the pedestals also varies considerably, and this may well have a chronological or geographical significance; clearly fewer tall ones will have survived intact, so that comparisons are difficult to make, but such indications as there are suggest they are late (e.g. 22:30).

Lerna J-A; they are popular in the Middle Phase, and some at least of the Kouphovouno examples from their fabric and finish should be Late. Vertically and horizontally perforated lugs are frequent, but less so than in Period I. The vertically perforated are the more common; both kinds occur on closed shapes, especially closed bowls, piriform jars and low collar jars, where they are mounted on the belly, four to a pot (15:11; 19:16) and more rarely in opposed pairs (15:8). They are thinner and more profiled than those of Period I; they may be carinated (22:8), triangular (22:5), or very long and thin (22:9). 22:2 is an exception, being on the lip of an angle-mouthed bowl of unknown shape. Tubular lugs began in the transition phase and are now relatively common on closed shapes like piriform jars (15:10) or small collar jars (19:15). They may be short or long (one from Lerna is .090m.), tubular or square in section (22:6,10). A broken fragment of a long lug from Ayioryitika is solid, with a false perforation at the preserved end.

They are rarely painted: only three from Corinth and one from Ayioryitika (22:27;75:18). The cut-out or punched decoration is discussed below. If the miniature pedestals already noted (22:26) are indeed such, then they may be considered to have their roots in the transition phase. A fragment of pedestal with punched decoration was noted in the Pebble Layer at Lerna, and another in J-B (cf. Vitelli 1974, 84: "surely intrusive"), but at Franchthi they belong to Jacobsen's “high” Urfirnis phase (1969, 365), and they seem generally to be more characteristic of this phase. I have no direct evidence for their use in the Late Phase, but it was suggested above that cut-out pedestals probably belong there; this decoration is also most characteristic of the Black-on-Red and occurs on the Matt Painted wares of Period III.

Handles are a new feature of Period II. Flat rectangular section strap handles (22:15,16) and rarer round bar handles (22:7), the latter only observed at Corinth, are confined to collar jars, pitchers, askoi and large storage jars. They never become very common, and, from their apparent absence in the first three Lerna strata seem to be rather Middle and Late Phase features. On collar jars, pitchers and askoi they connect the shoulder to the rim (21:1,5,12) or to the collar (21:4). On very large collar jars they may be entirely on the shoulder (Jacobsen 1969, fig.6:4), and on the large storage jars they are placed well down on the side (21:7). They are usually parallel sided, but some expand at the ends, anticipating the waisted handle of Period III. They are often painted, like the rest of the vessel; 20:18, with decorative knobs, is exceptional.

I. Pedestal types: % of 92. concave straight convex 53 36 8 II. Diameters, measured at the bottom: % of 73. .100m .100m+ .150m+ .200-.250m .300m+ 3 33 36 22 6

Painted Decoration: Technique.13 Jacobsen estimated that patterned Urfirnis accounts for some 20% of the material in the “high period” (Jacobsen 1969, 366). The paint would normally have had the same composition as the slip: the colour range and lustre, or lack of it, are identical. The relationship between colour and thickness of paint is even more obvious: red or brown lines are black where they cross or run over onto the slipped area. The same line may begin as black and become red as the brush runs out of paint (very clear in Zervos, 323).

III. Pedestal height-diameter ratios: % of 39. .2-.3 .4-.5 .5 56 31 13 Lugs and Handles. 22:1-10.15-16; 76:2,12. Simple unperforated lugs are uncommon except on the coarse ware bowls. The standard type for the period is the conical spur lug. It is confined to shallow or medium open bowls, and is usually set just below the rim (11:17), but occasionally on the rim (22:4). It normally has a round section and more or less pronounced droop (12:2), but oval sections are known. Some are very long and curved (11:15), which may be a late trait. Several were found in

The decoration may be painted onto a reserved or a slipped surface. In either case it may be lustrous or matt. Another technique, deriving from the Period I transition

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phase, and which seems especially popular at Asea and Ayioryitika, but not at Franchthi, is the use of an overslip. This is generally thin and transparent, lightly toning the fabric and darkening the paint over which it is laid. Sometimes it is hardly apparent to the eye; in other cases the brush marks are evident and run across the painted motifs. In a few cases the overslip is so thick as almost to obscure the pattern.

carinations, and these are rarely ignored; 70:9 (Asea, fig.56) is an exception. The division of a structural field into zones is also not usual; 16:12 and 23:41 are both from Franchthi. The decoration can be divided into three types: rim pendant, running and static. Rim Pendants. 23:18-30; 69:7,29,41; 72:2; 74:13; 77:2. The commonest motif is the solid inverted triangle with a tail and its derivatives (23:18-26. Next commonest are groups of short vertical or oblique lines (18:10; 19:3; 20:4; 21:5; 77:2,11.). Finally there are a few more elaborate motifs based on the triangle or lozenge (20:8). The large triangles of 15:10 is unusual and reminiscent of Period I, from which it is no doubt a survival. Rim pendant decoration is also used on narrow structural zones like jar necks, everted rims, shallow carinated bowls. On a reserve rim band it may be the only decoration for an otherwise overall slipped vase, and may be on the inside or outside (e.g. 13:9; Weinberg 1937, fig.19 a,b,e,f: Caskey 1954, pl.10 e: 1,2; 1957, pl.48 d; 1958, pl.36 g: 3; Jacobsen 1969, pl.96 b:2; Blegen 1937, fig.623:1.)

There are also examples of deliberate Urfirnis polychrome decoration (11:4; Weinberg 1937, fig.18 Fiji). This exploited the difference in colour caused by the different thickness of the paint. Thin lines are often lighter than broad ones. The principle must have been obvious, and perhaps many of the colour variations we assume to have been accidental represent attempts at a bicolour effect. Until manganese slips came into use, consistent results were hard to achieve (Farnsworth and Simmons 1963, 393 ff). But there are enough obviously deliberate and successful examples to show that Period II potters sought after and sometimes achieved a polychrome decoration. By thickening and double-painting the parts intended to be black they produced combinations of black with orange, red or mahogany (23:55-58).

Running patterns There are a very few sherds, however, on which the paint in texture and colour strongly resembles Matt Paint, but the evidence is too slight to permit any conclusions.

These form the largest class. It is essentially dynamic: the design runs around the vase and each repeated unit leads on to the next in a continuous horizontal movement. The patterns fall into three groups: 1) simple horizontal bands, 2) running zigzags and chevrons and 3) chains of filled triangles and lozenges.

White paint is very rare. I know of only two examples from Lerna (15:3), and one or two from Kouphovouno; Blegen 1937, fig.623:3,4. may be Period I or II (see p.13 for Asea).

1) Simple horizontal bands (14:2; 23:32; 69:42), usually wide, circle the upper body of open or closed bowls (Jacobsen 1969, pl.96 c:3), sometimes flaring rims (16:8) and jar shoulders (19:10), the rest of the vase being painted overall.

Patterns With rare exceptions the decoration is found on the outside of closed or slightly open shapes, and on the inside of more open bowls. The lower body of the vase and the outside of shallow bowls was slipped overall. The potters used few elements: apart from the solid frieze and the fill ornaments, they are all constructed of simple lines, straight or wavy, of various widths. The patterns are rectilinear and geometric. In the Early Phase they are simple: in the Middle Phase they are sometimes combined to form very intricate tectonic designs. The style is based on order and symmetry, even if this is not always achieved in the execution; but the potter was not a slave to the principle, and on occasion rebelled against too mechanistic an application by varying the details and neglecting the balance. The torsion principle to be seen in 16:14 (71:4) from Akrata rarely occurs elsewhere, but has Period I precedents at the same site (e.g. 7:6).

2) Running zigzags (12:1; 14:16; 16:10; 18:12; 20:1,12,14; 18; 21:6,9). These, the largest group, consist of one or more lines. They may comprise one broad line with or without added ornament (20:1,12) or, more commonly, a group of thin lines meeting at a more or less acute angle (12:1; 13:1; 20:12,14). The number of lines varies from four or five to twenty or more. This is the chief Early Phase decoration. Beginning in the Early Phase but more characteristic of the Middle, are the multilinear bands with broad outer margins (14:16; 16:10). (LWK, pl.I b; Blegen 1931, fig.1: 1,4,8; Weinberg 1937, fig.20 b,c,e,i; Caskey 1958, pl.36 g,h; Jacobsen 1969, pl.96 b:4,8). 3) 16:15; 23:36,37,38,39; 69:23,37. This is an intermediate group of more elaborate patterns derived ultimately from the running zigzag,

Generally there are no fields or zones except those imposed by the structure of the vase, such as jar collars or

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but developed into linked triangles and lozenges by filling alternate spaces with hatching. Crosshatched lozenges are quite frequent. The others illustrated are known only from one example (Weinberg 1937, fig.19i; Caskey 1954, pl.10 d; 1958, pl.36; Jacobsen 1969, pl.95 c; 95 b:7).

Open Bowl Decoration. 24: 1- 7; 72:4. The circular area of the inside of shallow open bowls presents the potter with a field for decoration free from the structural constraints of an articulated shape. The Peloponnesian potter adapted his designs to the circular field with great skill, and rather more ingenuity than his northern contemporaries. His sense of order and symmetry is most apparent in the open bow, on which a narrow lip line is common.

Static This class may be divided into two groups: 1) separate units which, whether repeated or not, convey no feeling of movement; 2) complex tectonic arrangements of opposed diagonal elements combined to create an effect of static balance.

1) The simplest treatment is to cover the area with a single motif, which may be a basketry weave pattern of thin lines, diagonal crosshatching (12:2; 23:33; 69:30), or chequerboard lozenges (69:35). All are Early Phase motifs.

1) 13:6; 15:10; 16:12; 18:15; 19:12; 23:42,43. This group includes the commonest motif, contiguous chevrons; plain vertical lines, which may be broad and single (17:1; 69:40) or thin and in groups (13:4); and uncommon motifs like 18:15. The wide-margined multilinear bands of 23:39,44 are Middle phase.

2) The field is filled with multiple chevrons arranged in different ways (11:5-8; 12:1; 24:4). Often a triangle is added on the lip. This is perhaps the commonest theme in all phases. There are many sherds from all sites with multilinear bands and some from Corinth with crosshatched bands running obliquely to the rim; most are probably fragments of similar patterns (Weinberg 1937, fig.18 a,d,f,h; Jacobsen 1969 pl.96 b:3).

2) The basic element from which the tectonic designs are constructed is that of 17:7; 70:5,6,7. With minor variations and the addition of ornamental triangles and bars, it is the leitmotif of the Asea deep carinated bowls. The decoration developed on this shape seems to be as restricted as the shape itself and might almost be called the Arcadian style. The small burial urn from Lerna (Caskey 1957, pl.48 b) is the only one I know outside of Arcadia. The fine vase from Asea, pl. III b, carries the identical decoration with the addition of a large asymmetrical lozenge on its end flanked by two vertical ladder bands (17:4; 70:2). At Ayioryitika there are even more elaborate compositions (17:5,6; 73:1, 2). A large shallow bowl from Lerna has a simpler pattern made up of broad-margined multilinear bands (Zervos, 324); a more complex design based on crosshatched bands, which are rare in Arcadia, but not infrequent at Corinth, is shown on 23:40 (Caskey 1958, pl.36 f). At Franchthi a large collar jar is decorated with a variant of the Arcadian style (Jacobsen 1969, fig.6:4), and a pedestalled piriform jar with a skeuomorphic design (17:3; Jacobsen 1969, pl.95 c, right). 23: 41 could be by the same hand: the shape is identical and the style remarkably similar; there are no parallels from any other site.

3) The field is divided into quadrants which are filled with simple or elaborate patterns. The division may be by a single line or a multilinear band or straight or wavy lines; 24:2,3,6,7; Asea, fig.55 a,b show some of the combinations. 24:5 is based on a reconstruction by Walker-Kosmopoulos of the centre of a very large bowl, much of which is missing, including the outer part, so that its present asymmetry is perhaps deceptive. 24:1 is a small bowl with large solid motifs, which is unusual. A sherd from Kephalari appears to be from something similar (Felsch 1972, fig.4). Other fragments of patterns from open bowls are in 11:1,4,5; 23:31; 75:14,23; Weinberg 1937, fig.18; Asea, fig.51. Handles. 23:65- 70; 69:44. These were often painted, usually with simple stripes, but sometimes more elaborately. The same motif as that on the rim of 18:14 is also used on a handle from the same site (Asea, fig.53 b). Motifs The number of basic motifs employed is limited, but their aspect is very varied and has some chronological and geographical significance.

The elaborate tectonic style can be placed with some confidence in the Middle Phase. It is Caskey's “later fine style” and Jacobsen's “high period.” The small Lerna burial urn comes from the fourth building phase down, which would put it at the beginning of the Middle Phase. And the deep carinated bowls from Arcadia are Middle types. But it was noticeable that among the painted sherds in Lerna J-D, the majority were simple wide-margined multilinear zigzags, and that the tectonic decoration was relatively scarce.

Solid Motifs These include triangles, squares, lozenges, butterflies and dots. Chequerboard squares and lozenges are infrequent, in contrast to Central Greece; stratified examples from Franchthi and Lerna are Early Phase. Motifs like (23:4648) and auxiliary dot ornaments (23:50,51) are rare. The

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characteristic motif is the triangle, which is used in rows on the rim as a frieze or singly as a filler ornament (e.g. 23:40; 69:38). Large triangles are not common in Period II and are perhaps a Corinthian speciality continuing from Period I: Akrata potters in particular seem to have a preference for them (13:6; 15:10), and there are a few fragments at Corinth. The early plain triangle developed a short tail in the Early Phase. It is no more than an extension of the brush stroke on one side, and it may have begun at the end of Period I (LWK, pl.II b), perhaps accidentally at first. The development from the short early type to the long fine tails of the Middle and Late Phases can be seen in 23:9- 25; extreme examples are shown in Asea, fig.53 f; Walker-Kosmopoulos 1951, pl.I b. Variations include the thorn of 23:26 and the vestigial 17:2. Although popular everywhere, they appear to be most common at Corinth, where the long-tailed 23:21,22 are used on collar jar and pitcher necks. It is noticeable that the tail is invariably slanted to the left. At Ayioryitika a thin line is sometimes added (21:9; 69:34), and Asea has its own special design of opposed triangles with a reverse zigzag line between, used on flaring rims and handles (18:11,14). Triangles are never used as appendages to larger motifs, as in Central Greece. (Weinberg 1937, fig.18 d; Blegen 1937, fig.623:1; Walker-Kosmopoulos 1951, pl. I; Caskey 1958, pl.36 f,g; Jacobsen 1969, pl.96 b.).

Short Stroke Motifs. 69:22,37; 75:9. These include ladders, more frequent at Corinth than elsewhere (22:11; 23:52-54), small chevrons (Caskey 1954, pl.10 d), fir-trees (23:45) , raindrops (Weinberg 1937, fig.20 g) and fringes (23:39; 75:23), none of which, however, are common or characteristic. (Weinberg 1937, fig.17 b; 19 g). Butterflies and Dots. 69:31; 75:16. Butterfly motifs are found alone or with other motifs and are not common, although they begin as early as Lerna JA. Auxiliary dots are used to fill open spaces, large chequerboard squares, and in one case as a border to a solid motif. Rare, but they begin in Lerna J-A (18:10; 23:50.50; 69:31; 75:16). Hatched and Crosshatched Motifs. 69:33,39; 75:8,31. These are common and are combined to form various patterns. They include triangles, lozenges, rectangles and bands (23:33,35,36,37,40.43). The lines may be medium or very fine, and the crosshatching square or oblique. They continue throughout from Period I (Weinberg 1937, fig.17 a; 18 a,d,,; 19 I; 20 a.i; LWK, pl.II d,e; Caskey 1954, pl.10 d; 1958 pl.36 f,g; Jacobsen 1969, pl.95 c left; 96 b). Pattern-Burnished Decoration The stoke-burnish on the late monochrome Urfirnis might itself be regarded as a form of decoration, when it is neatly executed. It is of three kinds: the scribble, the more or less regular, and the undulating. The first may be seen in Felsch 1972, pl.3, and the last two are well illustrated in Jacobsen 1969, pl.97 c, lower centre and left. All three kinds can be observed on the ordinary monochrome wares if they are examined carefully and probably signify no more than the individual potter's preferred method of working. But once the burnish strokes could be rendered sufficiently conspicuous at will, then elaboration and embellishment followed. The patterns always remained simple and were often carelessly executed. The simplest consists of one or more vertical stripes, placed where two groups of undulant lines meet (23:62); Jacobsen 1969, pl.97 c, left; Felsch 1972, pl.2:13), or without regard to the horizontal strokes, which were made afterwards (Jacobsen 1969, pl.97 c, left). Most of the patterns, like 16:9; 23:59 are the product of the technique itself, but others were taken from and have exact counterparts in the painted decoration (16:3; 23:60,61,63,64); Weinberg 1937, fig.19 a,b; Felsch 1971, figs.6-9; pls.2,3,4,9). The shapes apparently most often decorated in this fashion were shallow carinated bowls and piriform jars. The special potential of the pattern-burnishing technique for rendering exceedingly fine lines was not exploited in Period II, and instances like 23:59 and Felsch 1971, pl.2:25 are exceptional.

Broad Lines. 69:31, 40,42; 70:3; 75:18 Plain broad lines average between .010m. and .015m. in width; on rims they may be as much as .030m. They are used to emphasize rims and neck-shoulder junctions. Alone, they make simple zigzag, chevron or vertical motifs; an open bowl fragment from Corinth has two pendant from the lip (17:1; Jacobsen 1969, pl.96 c; Blegen 1931, fig.1:2. Wavy Lines. 75:24 - 27. These are much used in groups as frieze and fill motifs (18:8; 23:34,43), or as multilinear lines between straight margin lines (24:6,7; Weinberg 1937, 18 e,f,j; 19 e; 20 b,k; Caskey 1954, pl.10 e:2; Jacobsen 1969, pl.96 b:2,5.). Weinberg 1937, fig.20 k is a unique example of two wavy lines entwined to form a chain. Wavy lines begin in Lerna J-A, but are probably more typical of the next phase. Straight Line Bands. 71:3; 75:7,10. Groups of thin lines alone or bordered by wide lines are by far the commonest element in Period II decoration. There is a great variety in width of band, spacing and number of lines. The earlier wide-margined multilinear bands have fewer lines, often only four or five. The widemargined band seems to begin early - there is a sherd from Nemea in transition ware - but does not become common until the Middle Phase.

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the other sites I know only of one from Kouphovouno, one from Akrata and six from Corinth. At Akrata there is a large body of unexamined material and one can make no conclusions, but for Corinth, Lerna, Asea and Ayioryitika where the material is abundant and I have inspected most of it, the rarity or absence of this decoration calls for some explanation. One might be that it is a local speciality, but its occurrence in Laconia, Corinthia and (on the Black-on-Red fruitstands) in Central Greece makes this doubtful. On the other hand, the sites from which it is absent are precisely those which, as it appears from the pottery record, dwindled at the end of the Middle Phase. So it looks on present evidence as though cut-out decoration is a Late Phase feature. The Kouphovouno fragment is in fact stroke-burnished, but I have no evidence for the Corinth sherds. The Elateia Black-on-Red ware, the shapes of which resemble the Urfirnis fruitstands, should not begin before the end of the Late Phase, at a time when contact between the two areas was closest.

Plastic, Incised, Impressed Decoration There is very little plastic decoration in Period II, if we exclude what appear to be private marks or symbols, and incision is a rare eccentricity; there is one example from Franchthi (Jacobsen 1969, pl.96 a:1). Round pellets, hemispherical or discoid, like those of Period I, occur infrequently on the bellies of piriform jars and on bowls where perforated lugs are more usually found (Blegen 1931, fig.1:5). Thin oval welts on the body or rim are a direct continuation of the earlier tradition (Caskey 1954, pl.10 f). There is some use of cordons with a triangular or flat section, but it is not common; I only found three sherds with patterns (23:16,17; 76:8). A pedestal fragment at Corinth has a curvilinear motif. On a sherd from Argos the cordon is thickened at one point and perforated to make a cordon lug Pedestal Decoration Apart from the few painted pedestals, already referred to, and one with plastic cordon decoration, the two characteristic methods were by punched pellets and cutout perforations. The first is widespread although not especially common. Low pellets are raised on the outside surface by poking the inside of the still soft wall with a pointed tool (22:32). Less frequently a tubular tool was used which produced a larger pellet. The patterns were more often than not rather irregular, and consist of single or double rows of pellets forming horizontal, zigzag or chevron lines, or combinations of these (Weinberg 1937, fig.8 f; Asea, fig.40 b; Caskey 1958, pl.38 e,f; Jacobsen 1969, 96 a, upside down). They seem to characterise the Middle Phase, but may begin earlier and continue Late Fragments occur at Lerna in J Pebble Layer and J-B; there is an example from Corinth in Matt Painted ware, and one from Nea Makri in Urfirnis (Theocharis 1956, 20; pl.13:2 b).

Potters Marks. 23,1-15. At Lerna a large number of the fine monochrome vases bear plastic or painted motifs that surely have another purpose than decoration. The painted examples are fewer, but they have their counterparts in the plastic marks. There are at least three low pedestals or ring feet, two from Lerna J-C and one from J-E, which have a cross painted on the under side. A closed convex bowl from JE has two short oblique white lines on the rim (cf. 16:4), and an O.B.S. Convex 2 with a ring foot, from a late Early Phase level, has a motif like 23:64 on the rim. The motif painted on 13:2 is most probably another, although it is unusually large, since it appears on one side only. There may well be others which we have assumed to be decoration. A number of plastic marks are shown on 23:1-15. They consist of pellets, welts or longer strips, alone or in groups and combinations. 23:13,15 are also found painted. They are generally placed in an inconspicuous position low on the vessel's side, but may be on the belly, shoulder or rim. The most usual shapes with marks are small bowls or cups, globular low-collar jars and piriform jars. I know of none from any other site, and plastic motifs are generally rare; on the other hand it is only on whole, or large fragments of vases that they would be recognised as marks. For the moment it seems that they are an Argolida characteristic. A close study of them with their frequency of occurrence and associated shapes might lead to some better grounded conclusion, but that they are potters' marks is as likely an explanation as any.

The second method is by cut-out perforations. Round, triangular or quadrangular apertures were cut in the pedestal wall before slipping. The round perforations average .005m in diameter, and in all cases form a single horizontal row just below the bowl and pedestal junction. At least twelve fragments have come to light at Corinth, but nowhere else except Franchthi, where they are reported as being rare (Jacobsen 1969, 365), and they may fairly be considered a Corinthian trait (22:22). Triangular perforations are commonest among the other cut-outs (22,30) although lozenges and perhaps squares also occur. The triangles may be used to make butterfly or more elaborate designs: 12:5,9; 22:25,29,30,31; Jacobsen 1969, pl.97 a.

They begin early. The semi-lunate motif of 13:3 comes from a transition group. They are most common in the late Early and Middle Phases, but for the Late Phase I have no evidence.

The known distribution of angular cut-outs is curiously limited. At Franchthi they are relatively frequent. Among

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At Orchomenos two ring feet had slashed marks underneath (Orchomenos, 29, pl. XIV:1), and two marks are published from Tsangli (Wace and Thompson 1912, fig.43), but they are not quite the same.

perhaps having produced the only wooden figurine in Greece that has been claimed as Neolithic (personal communication by Mastrokostas, which it has not been possible to confirm). Amongst the surface material collected are two Urfirnis sherds from the same collar jar, which had a neck to shoulder handle. The ware is in all respects identical to the Peloponnesian, and suggests it may have been an import. But with them are fragments of the typical Astakos red-slip Polychrome bowls (like Benton 1947, pl.30: 32 a, etc.) the fabric of which is indistinguishable from that of the Urfirnis sherds. The rest of the material consists of the late Neolithic types that appear to occur all over Central and Southern Greece. I am indebted to Mr. Mastrokostas for showing me this material.

Mainland Distribution of Urfirnis Urfirnis ware has a wide distribution north of the Gulf of Corinth, but both the evidence and its interpretations present problems. The quantity of material is scanty, so that the range of identifiable shapes is limited; and there is such a fine gradation from typical Urfirnis to what Weinberg calls “related wares” that it is sometimes difficult to decide whether individual sherds should be classed as Urfirnis at all. If they are a local ware that happens to exhibit certain Urfirnis characteristics, are these sufficiently diagnostic to signify cultural contact? And, finally, with what local pottery is the Urfirnis associated, and with which periods or phases in the Peloponnesian sequence is it contemporary? These questions are discussed as they arise, in the following list of sites; it is grouped into areas which appear to constitute distinct cultural units.

Levkas: Choirospilia. W. Dörpfeld 1927 I have not examined this material personally, but Kunze, who first coined the term, writes that he saw a few Urfirnis sherds there; Choirospilia is just across the water from Archontaria (Orchomenos, 34). CENTRAL GREECE Delphi: Corycian Cave. Amandry1971;1972; Touchais 1981. The 1970 excavations of the French School produced a quantity of Neolithic material, mostly Late and Final Neolithic and perhaps EH I. It included a fragment or two of Chaironea type Red-on-Buff and some Urfirnis of the pale variety that is more Boeotian than Corinthian, as well as some brushed or smeared red slip that has partly “firnissed.”

WEST COAST Astakos: Ay. Nikolaos. Benton 1947 Apart from one Mycenean sherd, all the material from the inner cave is Neolithic. It includes a number of pieces which, though not identical to the Corinthian or Boeotian, exhibit the same technique and shapes. The paint or slip is brushed rather unevenly onto a more or less well burnished surface, so that the natural lustre varies in quality. On other sherds the overall brushed or smeared slip is matt, like most of the Boeotian and many of the late Peloponnesian sherds. The decorative elements can all be matched in the Urfirnis of the Peloponnese or Central Greece, but the style is rather different (e.g. Benton 1947, nos. 21 b; 26;27;28;35;50). Other pottery from the cave includes Matt Painted, Polychrome, Crusted, BlackBurnished and Grey Wares; some sherds of the last two classes would be quite at home in the Peloponnese. The red slip bowls with Polychrome decoration (pl.30: 21 a) have a fabric identical to that of the Urfirnis fragments; and the red slip is brushed on in the same manner. They should be contemporary or very close in date. There is no stratigraphic evidence from the excavation, but the Black and Polychrome on a red slip as well as the Black and Grey monochrome are associated with the first Matt Painted in Corinthia, so that the earliest Astakos pottery should be contemporary with the Period II -III transition.

Thespiae. Caskey 1951, 14-15, pl.87; Vitelli 1974, 21314. There are a few smeary sherds in the BSA and a cut-out pedestal in Red Slip ware. Two carinated and incised bead-rim bowls are published by Caskey. Eutresis. Goldman 1931; Caskey 1960. Urfirnis sherds were found in the lowest deposit on bed rock along with Black-on-Red, Matt Painted and BlackBurnished wares. The shapes include pedestal bowls, carinated bowls and piriform jars (Caskey 1960, 131; pl.43: I 1-4). I have examined the material; there is very little of it and it has generally a matt or dull finish. Pl. 43: I 3 is bichrome: the lines are brown-black and the pendant hooks, a motif not found in the Peloponnese, are in thick crusty red. The inside rim frieze of small pendant semicircles is exactly like that inside an Elateia Red-on-White rim and is matt (Weinberg 1960, pl.56 d:5). Caskey's Group I Dull Paint class is mostly identical in fabric to the Urfirnis. The matt black paint is on a thin matt red, or occasionally buff, slip which has in many cases been brushed on. Caskey 1960, pl. 44: I 8 is a tall jar collar, and

Archontaria. Mastrokostas 1967, 323 This is one of a group of caves in a ravine near the village of Mytikos, some thirty kilometres up the coast from Astakos, and opposite Levkas. It is remarkable for

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the thin brushed slip differs little from the Urfirnis, except that it is quite matt. There is also a large shallow fruitstand bowl with matt black streaky paint on a redbrown matt brushed Urfirnis type slip. Some of these correspond closely to some of the Black-on-Red bothros sherds from Elateia (Weinberg 1960, 182 ff).

Pyrgos Kunze refers to Urfirnis sherds from this site (Orchomenos, 31, n.1). Kastron Topolia. French 1972, fig.6. There is a pedestal foot fragment in dull Urfirnis and a similar sherd in red slip in the BSA. French 1972, fig.20:29 is doubtful.

Oinoe. French 1972, fig.6. One or two worn sherds in the BSA.

Souvala. French 1972, figs.6; 20.26. This site at the head of the Kifisos valley is not far from Elateia. There are a few sherds in the BSA, including a collar jar, everted in the Boeotian manner, and a rim like 11:5, but finer. The fabric, although not quite like the Peloponnesian Urfirnis, is different from the Early and Middle Neolithic sherds from the same site.

Kalami. French 1972, 10; figs.6: 20,27-28. One or two pale Urfirnis sherds in the BSA, and a Matt Painted sherd of identical fabric. Haliartos: Seidi Cave. French 1972, fig.6. One or two sherds of the thick dull Boeotian sort in the BSA.

Lianokladi Weinberg reports seeing a sherd in the Ashmolean museum from this site (Weinberg 1947, 175), and there are one or two sherds in the BSA. Fig.118:1, p.172, in Wace and Thompson 1912, is said to be Urfirnis, but does not look much like it. This site in the Spercheus valley is the furthest north where Urfirnis sherds are known to me personally.

Thebes: Pyri. Felsch 1971, n.44. Incised inturned-rim bowls fragments are reported. Orchomenos. Orchomenos. More Urfirnis is known from this site than anywhere else in Central Greece, but even here it is not abundant, and the shapes and painted sherds are very limited. Pedestal bowls like Orchomenos, pl. III or fig. 31) are the most usual shape, and there is mention of cut-out pedestals (supra 31), but the closed bead-rim bowls of fig.32 are also common and they do not exist in Corinthian Urfirnis, although they are frequent in the Matt Painted and GreyBlack-Burnshed wares of Period III. There are also jars with strap handles. The only other shape mentioned is fig.33, which Kunze himself places in a different class and which is rare at Orchomenos but commoner at Chaironea, Drachmani and Ay. Marina (Orchomenos, 34). It belongs to Period III and is discussed in that chapter.

Fournospilia Bakalakis reported one or two Urfirnis sherds from this cave in the mountain side opposite to Lianokladi (Bakalakis 1958, 68). EAST COAST AND EUBOEA Athens. Levi 1930, 428 pl. XXVI a. Levi cites three possible sherds and illustrates one of them, which, however, from the painted illustration looks doubtful. I have examined all the material he excavated with care and saw nothing that could be called Urfirnis: it all belongs to later periods.

Kunze also emphasised the closeness of Urfirnis in technique to the red slip ware, and Weinberg seems to imply the same (Orchomenos, 32; Weinberg 1960, 182 f). This red slip ware, whether decorated (Black-on-Red) or plain is also frequent in Corinthia, although rarer in the south, and is firmly associated with Matt Painted and Black Wares in Period III.

Poussi Kaloyeri. Theocharis 1956, 20, n.26 ; Diamant & Traill 1986, 119; Pantelidou Gofas 2000, 129. Theocharis mentioned a rich collection of Urfirnis sherds from here. There is also much early Neolithic material resembling that from Nea Makri. Among the several decorated fragments in the BSA is part of a shallow fruitstand with crosshatched triangles or lozenges in the centre.

Chaironea Kunze mentions the more frequent occurrence here than at Orchomenos of the inturned rim bowls, usually decorated with incision and often bichrome. This effect is produced by the use of a red and a brown slip, the red filling the spaces enclosed by the incised lines. The brown slip is brushed on and is reminiscent of Urfirnis, although the effect is no longer the same, and these bowls are Period III.

Brauron. Theocharis 1959, 287, n.14; Pantelidou Gofas 2000, 126. This is mentioned by Theocharis as an Urfirnis site and there is a complete piriform jar like 15:6 in the Brauron Museum. It has a monochrome red slip with dark burnish strokes that should set it in the Late Phase.

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Kitsos Cave. Lambert 1969, 962; 1970, 738 Urfirnis was reported from trench 1 in the lowest Stratum IV along with Period III wares, and possibly from trench 2, Stratum III with the same association.

Kifisos Valley sites the only Urfirnis fragments reported are from inturned rim bowls with a bead lip and incised decoration, which belong to my Period III (see below). The Urfirnis from Orchomenos is slight in amount and includes these same late bowls. At Elateia it is associated stratigraphically with Black-on-Red, Grey-black monochrome and Rhyton vessels in the Bothros; its appearance there comes at the end of a long Red-onWhite sequence, the first part of which, at least, would be contemporary with the EN (Period I) in the Peloponnese, but which chronologically continues into Period II and is contemporary with the early Urfirnis. At Nea Makri and Psachna Varka it is also associated with Period III wares. The evidence from these sites is nowhere strong enough to be conclusive, but taken altogether points strongly to a late arrival of the Urfirnis technique in the regions north of the Gulf, as Weinberg indeed first suggested.

Nea Makri. Theocharis 1954, 118; 1956, 20: fig.32; pl.13 a; Pantelidou Gophas 1995; Pantelidou Gofas 2000, 55-59. The first Urfirnis sherds came from the ash level which separated phases A and B, but Theocharis considered that they mark the beginning of B proper, in which they continue to occur, but not abundantly. They were found together with the Black, Grey and some Matt Painted and Polychrome wares of Period III. Most of the sherds are monochrome; decoration is rare, but he found some punched-pellet pedestal fragments. The context is again Late. The fully published excavation by Pantelidou Gofas cast much light on the local Attic Urfirnis, but curiously she does not seem to have found any punched-pellet pedestal fragments.

Northern Parallels Urfirnis shapes and decoration have few parallels in the Red-on-Buff or White pottery of Central Greece. It is not clear whether the published profiles from Elateia (Elateia, fig.8:1-6) represent all the shapes Weinberg found in this ware, and no mention is made of the monochrome pottery that must have accompanied the late decorated phase. At Orchomenos there was little painted Red-on-White, and Kunze's class D includes all the red monochrome, both early and Late In any case, from the published Elateia profiles and the restored vases from Chaironea it appears that the repertoire of shapes was very limited. Open bowls with ring feet and collar jars are very generalised forms. The flaring-rim bowl 14:16 has a close parallel at Lianokladi (Zervos, pl. A.).

Varka: Psachna. Theocharis 1959, 286 b; figs.311:2,10-12; 7:3; Sampson 1981, 82-83; 216, figs. 37:24. Sampson illustrates a typical fruitstand (cf. 12:12), but the shapes of most of the others æ inturned rim bowls with a bead lip æ would be Period III in the Peloponnese, which he calls LN I. See Conclusion, p. 64, below. Halai. LWK, 47,68, n.13; pl. II g. Walker-Kosmopoulos refers to a 'northern phase of Corinthian Brown'. The one sherd she illustrates is interesting but would be unusual in a southern context. I have seen a number of good Urfirnis sherds among the excavated material in the National Museum, which was not published,. Several were dark and all were dull or nearly matt. A small decorated cup in the National Museum showcase, at the time I saw them, may have in fact come, like some of the Early Neolithic ware, from Corinth.

The painted decoration offers more parallels. Most of the rim frieze motifs at Elateia can be found in Peloponnesian Urfirnis, but not the characteristic Boeotian solid circles and semicircles (Elateia, pl. 56 d). Solid triangles are common to both areas, but the Peloponnesian tailed triangles are exclusive to that region, and inside rim decoration is rarer there, except on shallow open bowls, which are not found in Central Greece. The broadmargined multilinear band is common all over Greece in more than one Period, and cannot be considered indicative of close contacts. But even here it is used rather differently: the characteristic Boeotian design in which oblique bands cross each other below the rim (Elateia, pl. 55 e) is uncommon in the Peloponnese, where the solid appendages to larger motifs (ibid, pl. 55 g) are also absent. Chequerboard designs of small solid squares, lozenges or triangles are very frequent in Central Greece, where they are used to fill large triangles and lozenges. They are much less common, and the large triangles or lozenges hardly known, in the Peloponnese. Exclusive to Central Greece are the wide serrated-edge lines, the

NORTHERN GREECE Urfirnis is apparently unknown in Thessaly. The Pyrassos sherd, at one time thought to be Urfirnis, has since been questioned by the excavator himself (Theocharis 1959, 52-54, fig.21; 1967, 163). There are said to be single sherds from West Macedonian sites: Ay. Mammas, Marmariani Toumba, Valtochori, Kritsana and Nea Nikomedeia (information from Mrs. Ridley), but I have not been able to examine them. Conclusions At Delphi, Eutresis, Astakos and Archontaria no other material is known which by Boeotian or Peloponnesian criteria is earlier than Period III. At a number of the

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vertical zigzag on a straight line, although it occurs in Matt Painted decoration in the south, the vertical rows of Xs, and others (ibid, pl. 57 a-d). Exclusive to the Peloponnese are the elaborate tectonic designs on the fruitstands and deep carinated bowls.

Sometime in the Late MN Phase Peloponnesian influence began to spread northwards into the Kifisos valley, and up the eastern and western seaboards of the mainland. On the Akarnanian coast and in Boeotia its arrival appears to be later than in the east, perhaps not much before the end of Period II, and in these parts it was incorporated into or stimulated a local pottery tradition, of which it formed only an element. The coastal distribution no doubt indicates an increase in maritime traffic and certain settlements, like Franchthi, with a seafaring tradition going back to the Mesolithic occupation, may have specialised in it. The imports in the early levels, and the sudden jump in the obsidian-flint ratio from about 25% in Period I to 75% in Period II (Jacobsen 1969, 359-61) are evidence of the trend, and the late expansion of Urfirnis influence up the Attic and Euboean shores will be signs of its continuation.

On the whole there are more differences than similarities in the decoration and shapes between the Peloponnese and Central Greece. The contrast with the Sesklo period shapes and decoration of Thessaly is even more marked, and need not be described here. Period II is one of independent regional growth and development. Summary and Conclusions Urfirnis was a product of the north-east Peloponnese. Within that region there is reason to believe that the technique was first developed at the larger centres in Corinthia and Argolida, and that it spread slightly later to the peripheral settlements of Akrata in western Corinthia, and to Arcadia. Subsequently it penetrated to Laconia and Messenia. At Corinth, Ayioryitika and especially at Lerna there is an abundance of late Period I material in which every step in the technological transition from Red Slip to Urfirnis can be clearly demonstrated. The transition stage is less clear at Asea, while for Akrata no evidence is available. On the other hand at these two places as well as at Nemea, a number of late Period I stylistic features are found that are not present or are scarce at other sites. Among them are the relatively larger amount of Red-onWhite painted decoration, White-on-Red or Buff ground decoration, the use of large solid triangles, the small chequerboard triangles of Asea and Akrata, and the chequerboard squares of Nemea. At Franchthi in eastern Argolida a relatively high proportion of the late Period I painted patterns consists of large solid motifs. All these features may be in part a measure of local specialisation, but it seems to me probable that their scarcity or absence at those sites, where the transition development to Urfirnis is best demonstrated, has a chronological implication: that those centres had already begun to produce Urfirnis pottery. Why the pottery of Nemea should in certain respects show more affinity to that of Akrata than that of Corinth is hard to explain; but then so is the reason for the decline of Nemea just at the beginning of this period of growth and expansion.

At the same time changes are taking place in the Peloponnese. The old settlement pattern is breaking up, and with it something of the cultural unity that hitherto existed.13 New pottery types appear. The larger centres, except for Corinth and Franchthi, fade into insignificance, and a number of new sites, some of them caves, are occupied either quite for the first time, or more intensively than before: Gonia, Klenia, Argos, Kephalari, Kouphovouno, Alepotrypa, Kouveleïki A. Corintha is in closer contact with Central Greece, while Argolida goes its own rather different way. The clearest evidence for the transition comes from Franchthi, where the new Black Ware with white-painted or pattern burnished decoration reaches its peak when the first trace of Matt Painted pottery appears. (Vitelli 1974, 134-6 Table 18 a & b.) The Urfirnis that accompanies the new ware is itself frequently burnish decorated. At Corinth the picture seems to be different. The appearance of the Stroke-Firnis sherds is less striking, and the technique was more rarely employed decoratively. No sure deposits have been found with Urfirnis and Black pottery but without Matt Painted. They may well exist, but it is still doubtful that the Black Ware could have reached a peak before the appearance of Matt Painted, as at Franchthi, without some evidence of it being observed. Black Ware at Corinth is associated with Red Slipped ware, plain or decorated with black paint, a little Urfirnis still, Matt Painted, and a little Grey Ware. If Black Ware pottery precedes Matt Painted, it is likely to be only by a short interval. From this two conclusions are possible: either the Black Ware begins earlier, or the Matt Painted begins later, at Franchthi than at Corinth. I prefer the second, but the question will be considered further in the context of Period III.

By the middle of the period a fine pottery industry had developed with a general uniformity of style, in which minor but significant local variations are evidence of sophisticated local specialisation. At the same time the settled and independent character of society at this time is perhaps reflected in the considerable diversity of styles between the larger cultural provinces throughout Greece, because little direct cultural contact between them can be detected in the shapes or decoration of the pottery.

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PERIODS III AND IV: Late & Final Neolithic

and IV into Early and Late Phases, and have arranged the catalogue and illustrations of shapes according to ware, even though some of the wares span more than one Phase. Where possible, I have indicated which types within each class of ware may be attributed to a particular Phase, and which are doubtful and may belong to any or more than one Phase. The reasons in each case are given in the catalogue.

Introduction The first two Periods developed in a steady, unbroken sequence from the first appearance of pottery in the Peloponnese. The pottery itself, though showing variation in detail, is on the whole much of a kind. The wares and decoration are the product of a relatively uniform technique. The last two Periods, on the other hand, are characterised by a multiplicity of wares and techniques, whose chronological boundaries cannot be closely defined on present evidence, but for which some arrangement in a tentative sequence may be suggested by a study of their typological affinities and occurrence.

Unfortunately one important class is missing from the Period III catalogue, the coarse wares. An important feature of this Period is the great increase in the proportion of coarse wares (cf. Jacobsen 1969, 369, among others). These often reflect the traits of the finer wares and, more importantly, being generally less sensitive to change, can serve as a measure of the continuity between phases. But more than any other wares the coarse domestic types must be studied in a secure stratigraphic context. They are rarely mentioned in the short earlier excavation reports, and indeed were often discarded. The only such relatively closed contexts in the Peloponnese are from Prosymna, Franchthi and the Corinth Forum West excavation, none of which has it been possible to examine in detail. Some of the coarse ware from Alepotrypa and Klenia that has been described under Period IV may in fact date back to Period III.

Weinberg began his Late Neolithic period with the appearance of Matt Painted pottery, which is still the most convenient criterion to follow, and ends it at the beginning of EH I. I have put the latest groups of pottery into a fourth, Final Neolithic Period (v. p.7). During the course of the later Neolithic there is no such clear or major change of style as marks the beginning of Period III. A continuous, if not smooth, development is apparent right up to and into the Bronze Age, which witnessed the flowering of a variety of short-lived local wares and, in the latest stages, the impact of external influences. There is a time, however, when Matt Painted and the various Polychrome wares appear to die out, and to be replaced by predominantly monochrome red, redbrown and dark pottery, sometimes decorated with Pattern-Burnish, incision, or white and red crusted pigments. We also have the first evidence that copper was being used in Greece and the nearer Cyclades. It is the logical moment at which to begin Period IV.

PERIOD III: Late Neolithic Site List Map 3 (fig. 64) Sites marked with a query are considered probable but not confirmed. The two Matt Painted sherds reported from Dhimitra could be Middle Helladic, since worn body sherds are sometimes indistinguishable, and so could the painted sherds from Yeraki; the handle appears rounder in section than is usual on Neolithic vessels. The abbreviations in the central column indicate the wares known from the site, and the references are only to the principal published sources: duplicate or derived references are not given since they add no information.

How far is one justified in dividing these two Periods into Phases? There is no question but that they are capable of chronological subdivision into two, three or more parts. At Corinth, for example, one can detect three possible phases. The first is characterised by Black, Matt Painted and Black-on-Red wares, and Rhyta; the second by Black, Grey, Matt Painted and Polychrome wares; and the third by Grey, Matt Painted, Polychrome and Stoke-Burnished wares. But there are no closed deposits or strata corresponding exactly to these phases, and it is not possible in practice to apply them with any exactitude to the material, either from Corinth itself, or from other sites, such as Klenia and Alepotrypa, where it is clear that a long sequence of pottery is represented.

North West 1. Kastro Kalogrias Bl, MP Teichos Dymaion

It has therefore seemed best to use a broad, flexible framework with few subdivisions, and to indicate within it the probable chronological order and association of the different types. I have therefore subdivided Periods III

North Coast 2. Aigion 3. Akrata 4. Tarsina

65

MP Bl,MP MP

Mastrokostas 1962, pl.136 a. Mastrokostas 1963, pl. 72. Mastrokostas 1964, pl. 60. Mastrokostas 1965, pls. 149,150. Mastrokostas 1968,136. Mastrokostas (Unpub). Haritonidis 1967, 164.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

5. Aetopetra 6. Corinth 7. Gonia Inland Achaia 8. Cave of Lakes Inland Corinthia 9. Phlius 10. Klenia Inland Argolida 11. Mycenae 12. Prosymna

Coastal Argolida 13. Tiryns 14. Aria, 15. Franchthi 16. Argos 17. Kephalari 18. Lerna

FG,MP

Blegen 1920, 3-4 (BSA). All types See p.14. Bl,FG,MP,Poly Blegen, 1930-1931, 55-80. MP

Period III Shapes and Wares Urfirnis At Franchthi Urfirnis ware was still in common use long after the first appearance and subsequent peak of Matt Painted pottery (Jacobsen 1973a, 269, n. 43). Whether its persistence into the later levels necessarily demonstrates the coexistence of the two wares, or whether this apparent stratigraphic association may be due in some measure to the anomalous conditions under which cave habitation deposits are formed and accumulate, is open to doubt. But, as with the Forum West deposits at Corinth, some continuity of Urfirnis into Period III can hardly be doubted, and of course the length of this overlap will be governed by local factors which need not everywhere be the same.

Sampson 1997, 538.

MP (I saw 1 sherd) Biers 1969. Bl,FG,MP,Poly Syriopoulos 1964, 24. Bl,White pnt French 1970, seen on visit. Bl,FG,MP,Poly Blegen 1937, figs. 621-3:12-16; 626, 628, 629, 630, pl. III.

The late Urfirnis is chiefly plain monochrome (Jacobsen 1973a 269, n.43), with some Stroke-Firnis; and cf. Vitelli 1974, 79: “dramatic increase in Scribbled Urf.” The shapes are much the same as those of Late Period II, as far as one can tell. Some of those illustrated here (16:3,9; 22:24) come from Period III contexts, while others, like 18:7; 20:5 have been noted in the earlier Franchthi Matt Painted levels. Unstratified 16: 1,2,5,6,7; 18:16 are, from their shape and finish, certainly Late Period II, and, to judge by their similarity to some Black and Grey Ware bowls, also very probably Period III.

MP Müller 1938, figs. 2, 3. Bl,FG,MP,Poly,PB,Crust Aria, 60118. All types Franchthi 1 & 2. FG,Mp,Poly BCH 91(1967) figs.17-21. MP,Poly Felsch 1973, fig.6. All classes Caskey 1954, 21,28; 1957, 159, pl. 48 a,c;1959, 204.

Arcadia 19. Kandila-Bikiza

Urfirnis with Stroke-Burnish is a prominent feature at Kouphovouno, where there is much Matt Painted. I initially wondered if this were due to local preference, as I had previously seen little of it at Corinth. But I subsequently found it to be predominant at Kephalari (see above p. 20).

FG,MP,Poly Howell 1970, 92, pl.27 c. 20. Dhimitra-TroupesFG, MP Spyropoulos 1973, pl. 46 a,b. 21. Asea Bl,FG,MP Holmberg 1944, figs.77b, c; pl. I j.

Both at Corinth and Franchthi there are sherds which combine Urfirnis and Matt Painted characteristics. There may be a brushed Urfirnis slip on one side and a typical Matt Painted finish on the other. The style and decoration may be Matt Painted and the technique and fabric Urfirnis, or vice versa. These sherds may not be numerous at Corinth, but they probably represent a phase in which Matt Painted was developing alongside Urfirnis, as at Franchthi, where, it seems to have been slower to displace the earlier ware.

Laconia 22. Kouphovouno Bl,FG,MP,Crust Renard 1989. 23. Yeraki MP BSA 16 (1924) 72, fig.2. 24. Kouveleïki A Cave Bl,Gr,MP,Poly,PB,Crust: Koumouzeli 1995, 144, figs.32,33,35. 25. Apidia Poly Waterhouse 1960, pl. 18b:11. 26 Alepotrypa MP,Poly,PB,Crust Papathanasopoulos 1971, pls. 2,4; 1996. Messenia 27. Nestor’s Cave

Bl,MP

28. Koufiero Cave

Bl,MP

Hybrid Ware. Fig. 36:18 This is a special group of sherds which, though small, is of interest because they combine the techniques of two wares and thus point to a chronological linkage. They form one of the small classes which “occur for the first time” in Walker-Kosmopoulos's Period III. She described the ware as a “combination of Black Polished and the

Macdonald 1961, 243244; Sampson 1980, 175-187. MacDonald 1969, pl. 44: 9-11; Zachos 1987, 15.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

technique that produced in II Corinthian Brown [Urfirnis] and coarse painted ware” (LWK, 52. fig.34), and aptly dubbed it “hybrid.” The sherds are all from closed, shallow, more or less carinated bowls with a lip-groove and incised or grooved decoration. Weinberg found similar sherds in 1937 and included them in his Urfirnis category (1937, figs.8 a; 14 a). I have not seen the WalkerKosmopoulos sherds and only one of the two illustrated by Weinberg (46:18). This, with its thick, dark mahogany brushed slip outside and typical red-brown Urfirnis slip inside is in many respects more like some Boeotian sherds than the typical Corinthian Urfirnis. But the impression it gives is rather that of a Period III Urfirnis variant (Weinberg’s term) than of any other ware. The fabric is typical of Urfirnis or Black-on-Red ware, as are the inside lustrous slip and scrape marks.

Hybrid Ware Chronology Both shape and ware appear to be absent from the Forum West deposits. Since they are in any case uncommon, this cannot be taken as conclusive negative evidence, but their closest parallels in shape and decoration are with the Grey Ware bowls, which are also absent from these deposits, and which there are grounds for thinking are later (see p.14; 84). It seems therefore most probable that the Corinthian Hybrid bowls belong to a phase immediately following that represented by the Forum West material: the end of Early to beginning of Late Phase. Their dating in Central Greece is uncertain. Neither of the two possible examples published by Weinberg from Elateia appear to come from the Bothros, and could be later.

The decoration, like the shapes however, is virtually the same as that on certain Black or Grey Ware bowls (31:17, 18, 21,30; 34:8,9). Of the eight sherds published from Corinth, three have groups of double crescents like 36:18; two, perhaps from the same vessel, have incised jab-filled triangles like 34:11; one, a single row of short zigzags, like 34:5; one, a treble row of longer zigzags; and one, a series of round punched holes (LWK, fig.30).

Black-on-Red. Fig. 36: 1-17 This, as Weinberg pointed out (Elateia, 182f; Weinberg 1970, 597 f.) is a deceptively variable ware. Pieces sometimes described as Black-on-Red may in fact be Matt Painted on a red surface with a similar appearance and can only be distinguished by the fabric (see below 76). The basic characteristics of true Black-on-Red may be summed up as a more or less fine red or red-buff fabric, very like that of Urfirnis and also commonly having some fine white grit filler, a red slip, and black linear decoration sparsely applied. But this general description covers a considerable range in terms of finish and appearance The colour of the slip may be brick red, orange red or red brown, with a lustrous or matt surface; at Corinth it may be finely crazed. The slip can be thin and smeary, strongly brush-marked, or evenly opaque. The paint varies from black to chocolate to dark brown. It is most generally matt and applied on top of a lustrous slip, but in some instances the black has a low shine, in others a powdery granular quality, in others it is finely crazed. It has a tendency to adhere poorly to the lustrous slip and to flake off, leaving no trace behind. Occasionally the lustrous slip is applied over the black paint, a trick often observed on Period II pottery, or the decoration is painted directly onto an unslipped red surface. The inside surfaces on some bowls were scraped and the marks show through the matt slip. (cf. Lavezzi 1978, 422f). And see Aria, 89-92.

Their distribution in the Peloponnese is, as far as I know, confined to Corinth, although it would not be surprising if the odd one or two turned up in Argolida. In Central Greece they are much commoner. Identical looking pieces are published from Orchomenos, Thespiai and Drachmani, and they are mentioned from other sites (see list below), while the ware, which French has call Brown Wash (see p.15) is there used for a wider range of shapes than at Corinth. It is therefore probable that the Corinthian bowls are imports. Hybrid shapes C.B.S. Convex Carinated. 36:18. 8 ex. The blunt carination is characteristic. Those shown by Walker-Kosmopoulos appear to be the same. Close parallels in Matt Painted (39:5), Black (27:18) and Red Burnished (27:17) wares, for the shape, as well as the Grey Ware referred to above. Corinth (Weinberg 1937, figs.8 a; 14a. LWK, fig.30); Thespiai (Caskey 1951, pl.87:14,15); Orchomenos (Orchomenos, 34, fig.33; pl. XIII 1: d-g); Chaironea, Ay. Marina, Drachmani (Orchomenos, 34); Elateia (Elateia, perhaps pls. 58 b: 3; 68 c: 3).

Shapes

C.B. Carinated Hook Rim. Weinberg 1937, fig.14 b. I have not seen the sherd. The closest parallels would be 38:16 in Matt Painted and 31:16 in Grey Ware. None are published from Central Greece in what might be this ware.

O.B.S.Straight 3. 36:1,4; 80:1. 4 ex. Slightly curving sides and gently tapered lip, with more parallels in the Matt Painted than the Grey or Black Wares.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Corinth; Gonia; Elateia (Elateia, fig.8:7); Aria, (square lip: Aria, pl. 35:113).

Jars? 36:14 1 ex. The actual shape of 36:14 is unknown. The traces of a high strap handle rising from the rim suggest the possibility that it comes from a pitcher. There are two or three fragments of Black-on-Red pitchers in the Chaironea museum, and high handles are not known on any other shapes before late Period III (cf. 45:8). Gonia.

O.B.S.Convex 3. 36:3. 1 ex. Very slight convexity. Identical profile in Matt Paint, but not in Grey or Black Wares. Corinth: Eutresis (unpub. example from Group I, in the local ware).

Decoration. 36; 80.

O.B.S.Straight 2. 36:2,6. 4 ex. Tapered or rounded lip. May be from pedestal or simple conical bowls. Corinth; Gonia.

This is usually restrained and characteristic. Some pots seem to have had no more than a simple rim line (36:2,9,13). The commonest decoration is with groups of three or four thin vertical lines (36:5,8,10.14). On tall pedestals the outermost of the group of lines may be a zigzag (36:15), a motif that may be taken as the hallmark of this ware in Corinth, as in Central Greece, since it is not found on any other (36:15; Lavezzi 1978, 422-423; LWK, pl. II h; Blegen 1931, fig.14 g). 36:17 seems also to be confined to Black-on-Red ware. 36:6,11 are typically Matt Painted motifs, and the former could also be Urfirnis, but 36:16 is only found in Corinthia on Period IV Pattern Burnished and perhaps White Crusted wares (48:15,25) where it is used rather differently.

O.B.S.Concave 2. 36:5,13. 2 ex. These two rims may be from different types of vessel: 13 is probably part of a pedestal bowl, and 5 part of a simple concave cup. The swollen upper wall and tapered rim of 13 has parallels in Black (25:4) and Grey (30:12) wares. Corinth; Gonia. O.B.M.Convex 2. 36:11. 1 ex. A very generalised shape found in most wares, particularly those of Late III. Corinth. O.B.M.Straight 1. 36:12. Another generalised shape found in most wares. Corinth.

The limited and exclusive use of some of the Black-onRed motifs renders the closeness of the parallels with Central Greece especially significant:

2 ex.

36:5,8,10 -

O.B.Thickened Flat Rim. 36:8. 1 ex. This distinctive rim occurs in the Matt Painted (38,11) and Grey (31:10) wares, but not the Black. From its absence from the Forum West deposits, and its Grey Ware parallels, it is probably Late III. Corinth.

F36:15 37,7 36:17 36:16

C.B.S. Straight. Similar in Urfirnis, Black-Burnished and Matt Paint. One example from Aria, (Aria, pls. 1,14,35:116; Douzougli cites Elateia fig. 59 e, from the Bothros)

-

Orchomenos. Orchomenos, pl. XXIII 1a. Elateia. Weinberg 1962, pl.59 c: 1,4,7. Orchomenos. Orchomenos, pl. IV 4. Elateia Weinberg 1962, pl.59 g. Elateia. Weinberg 1962, pl.59 c: 5. Elateia. Weinberg 1962, pl.59 e, f. Eutresis. Caskey 1960, pl.44: I 11,12.

Distribution In the Peloponnese Black-on-Red ware seems to have a rather limited distribution; it is known from Corinth, Gonia, Aria, Kouveleïki A, Kouphovouno and probably Franchthi. There is none in the many boxes of roughly contemporary material from Klenia.

C.B.M.Bead Rim. 36:9. 2 ex. This shape is common in the Matt Painted and monochrome wares, and the two examples come from Forum West. Corinth; Elateia (Elateia, fig.8:2; pl.58 b: 5).

In Central Greece on the other hand it has a wide distribution, from the Corycian Cave above Delphi, where I noted a number of sherds together with a technically very similar Urfirnis ware, to Amouri II in the Spercheus Valley, but not beyond (French 1972, 9). It is safe to conclude that its home was somewhere in Central Greece. The striking similarity of the Corinthian sherds, the small and characteristic repertoire of decoration, and the limited

Pedestals. 36:7,10.15; 80:2-4. Several. I have no evidence for bases or ring feet. The pedestal fragments include a narrow-waisted type (36:10) and a steep narrow foot (7). These are not of the wide (Urfirnis) Elateia type, of which I noticed no fragments at Corinth. Corinth; Aria, (Aria, pl. 35:114).

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

distribution south of the Gulf suggest the possibility that this ware was produced in one centre, perhaps the Kifisos Valley, and exported thence to other parts, where it was subsequently imitated: see the section on Gonia Red Burnished Painted ware, p.102. (Touchais 1981, 143, Class F, which, however, Touchais considers closer to Thessalian than to Central Greek models.)

since the added red on these is the same paint as the black, but more thinly applied. The fabric is also identical to that of the unquestionably Black-on-Red pieces (French 1972, fig.20:30.31, 33-35; 21:34). The Group I decorated wares from Eutresis are also of interest in this context. Among them there are no Matt Painted sherds of the classic kind common at Elateia, Orchomenos and in the Peloponnese. Caskey himself divides them into two classes, glaze paint and dull paint. In fact, it is not at all easy to classify many of them. A few will pass well enough as Urfirnis (his glaze paint), one or two as Black-on-Red and some as a local form of Matt Paint and Polychrome; most of them lack sufficiently differentiated characteristics to justify any of these labels. The Urfirnis is nearly all dull, matt and generally dusky; between the smeary Urfirnis and the Matt Paint there is no clear division; the fabric is the same: hard and clinky. The slip on the Matt Painted sherds varies from yellowish buff to dull red, is matt, and often applied with a brush. The Polychrome variety (Caskey 1960, pl.44: I 6; II 16) is apparently produced, as in the case of French 1972, fig.20:30, by varying the thickness of the paint. An exception is Caskey 1960, pl.43: I c, where the pendant hooks are in a thick red crusty paint on a low-lustrous buff slip. Kunze found the same problem with some of his Orchomenos material (Orchomenos, 39).

Discussion The role and chronology of Black-on-Red in the Central Greek and Peloponnesian sequence are important, since the ware constitutes a solid link between the two areas, and it is worth discussing in some detail. The closeness of Black-on-Red to Urfirnis is such that there can be little doubt, as Weinberg remarked (1965, 40), that the one developed out of the other. There are sherds at Corinth and Gonia that could plausibly be assigned to either. 81:3 from Gonia is a good example: the fabric and brushed pale mahogany slip, as well as the profile, which is the same as 11:4, but larger, are so indisputably Urfirnis that I classified it as such without a second thought when I was drawing it, at a time, after having just finished examining and drawing some hundreds of Urfirnis sherds from Corinth. The paint is matt, but so it is not infrequently on Urfirnis sherds. The pattern however is not found on Urfirnis pedestal bowls elsewhere, but is close to the typical Black-on-Red decoration. It serves to demonstrate the probable late survival of the Urfirnis technique and the chronological overlap of the two wares, since it is doubtful that there was much occupation of Gonia before Period III. Weinberg cites sherds from Elateia with Urfirnis on one side and red slip on the other (1965, 40).

From all this it is apparent that in Central Greece there is a close technical relationship between the late Urfirnis, the Black-on-Red and the early (or local) Matt Painted wares. This contrasts with the present evidence in the Peloponnese, where Matt Painted, with the slight qualification already referred to, is sharply differentiated. Group I at Elateia comes from the scrapings on bed rock, and may represent more than one occupation or phase, but the association of these decorated sherds need not be doubted, if only for their technical similarity. In them one can perhaps see the evolution of a local Matt PaintedPolychrome pottery from the late local Urfirnis, at a time when Red-on-White had ceased to be made, and before the development - or arrival - of classic Matt Painted.

A group of sherds from Gonia, which to avoid confusion are catalogued separately (see below: 49:8,13,14,17; 81:1,2), could also be classed as Black-on-Red, although they combine the use of black matt paint with the stroke or scribble burnishing technique that characterises the later red Pattern-Burnished ware of Prosymna-Klenia type. This group, by any criteria, should be dated well after the Forum West phase.

Chronology In the Peloponnese there is little Matt Painted material having a red fabric or surface, and there is no likelihood of confusing it with Black-on-Red, although, as has been mentioned, there are sherds with Urfirnis characteristics. In Central Greece, however, the situation is different. As in Akarnania, there is a ware with red fabric and a red or red-buff surface, with or without a slip, decorated with black matt paint or both black and red paint. Sherds which French has called Brown on Buff, and which I have examined, are, to an eye accustomed to Corinthian material, more naturally Black-on-Red. They are virtually identical in fabric and finish to some Polychrome sherds,

In Corinthia the only stratified evidence comes from the Forum West excavations, where Black-on-Red is associated with fully developed Matt Painted and early Polychrome pottery. The Forum West levels therefore cannot represent the earliest phase of Period III, but fall somewhere in my Early Period III (cf. Lavezzi 1978, 422, n. 65). At Gonia there is some Black-on-Red of the Corinthian sort, as well as some with features linking it to the red Stroke-Burnished ware, which is taken to be later than Forum West. At Gonia Matt Painted and Black Wares of the Forum West types are scarce or absent, and this is

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

another reason for supposing that the bulk of the material there post-dates Forum West and belongs to Late Period III. Even leaving out the Gonia types of Black-on-Red, however, it still seems likely that Black-on-Red continued after the Forum West phase and perhaps into the beginning of the Late Phase.

rather soft and friable, with a black slip, which may be due to under firing. It is hard to estimate how much of it was slipped, because a slip is difficult to distinguish in the hand from a good burnish unless it is thick or has partly flaked off. I noted some twenty sherds with a thin or thick brush marked slip, which in every respect but colour is like that used on Urfirnis ware. It is found on black, dark grey, pale grey or pink fabrics. Most of these sherds are from vessels which, from their shape and decoration, such as fluting or rippling, I take to be contemporary with the Grey Ware, and therefore Late. Douzougli’s Black-Grey category at Aria, by contrast, contains very few “genuine” black sherds (Aria, 65). At Franchthi I have seen sherds with Urfirnis outside and what appears to be a typical BlackBurnshed surface inside.

In Central Greece it is best represented in the Elateia Bothros, the chronology of which has already been discussed (p.18). Little of the material in Eutresis Group I could happily be described as true Black-on-Red, but it is clearly related, and indeed the decoration on pl.44: I 11,12 is the same as 36:16. Other typical motifs are not found, nor are the incurved rim or bead rim bowls that are common in the Bothros. It is possible that Eutresis Group I just antedates the Bothros and the Forum West deposits, although some overlap or continuity is provided by the Black carinated bowls with fine pattern burnish (Caskey 1960, pl.343: I 21).

Shapes. Figs: 25-29

Black Ware. Figs.25-29; 35:1-19

Pedestal Bowls (PB) 25:1-14; 16-17

Black Ware occurs throughout Period III and IV, although it is more characteristic of some Phases than others. There is little diagnostic about the fabric and finish, and the only way to date unstratified material is by shape or decoration, although, since some unspecialised shapes have a very long life, even this method is not always reliable. Both Black and Grey Wares were made together during part of Period III, and there is sometimes a problem in deciding to which class a sherd belongs. Only a small proportion of the Black Ware has a black fabric; generally it is dark grey and the black surface is achieved by burnishing, with or without a slip. Where the surface is worn only the dark grey body survives. A number of pots are not fired evenly, and parts of the surface are tan or buff as well as black. In most cases I have included them in the Black category, assuming for present purposes that they are imperfectly fired Black Ware. As in the Grey category, there are a few sherds with a uniform tan surface; those with a black or very dark grey fabric have been put with the Black Ware. These sherds are only variants, accidental or deliberate, of the Black or Grey Wares and the shapes are identical, so there seemed little point in creating a separate category. At Aria, the distinction between the Black and Grey is much less clear cut, no doubt because the properties of the clay at Corinth that produce the particular Corinthian pale to silvery shade are not present in the clays around Aria,. Douzougli (Aria, 60-88) in fact lumps the two together and her black-grey category thus spans my two wares both typologically and chronologically.

Certain types are found exclusively, others principally in either Grey or Black Ware, and others about equally in both. The same differences are observable in other shapes. Apart from the variations among specific types, pedestal bowls of all types are much commoner at Corinth in the Grey than the Black Ware. The figures given below are based on a count of a large number of pedestal bowl rims and bases from all sources, but chiefly from Corinth.14 Where there was doubt about very dark grey examples, they were put in the Black category in order to avoid exaggerating the Grey proportion, although probably most of them are more properly Grey: Pedestal Bowl rims: 117*

Black Grey 30% 70% With straight sides (like 25:12) 18% 2% Pedestals: 102 34% 66% *Corinth: 100 PB Straight 3 & 4, Plain & Bead Rim. 25:8,9,10.14. 6 ex. There are two each like 8,14; the bevelled lip is hardly known in Grey. 9, with the fine pattern burnish on the inside, is red brown out. Corinth;Argos;Alepotrypa;Aria, (Aria, pls. 21: 10, 11; 23: 26) Early or Late PB Straight 2 & 3, Bead Rim. 25:2,7,11,12. 11 ex. The swollen rims of 2 and 7 are also found in Grey, but the Grey examples are typically heavier and more swollen. 12 from Forum West is the standard Black type. There is a rim like 11 from a stratum at Franchthi at which Matt Paint is just beginning, and others published from that site show no or only slight thickening. A rim like 7 has the thin brushed slip which is commoner on Grey

Some of the heavier Black pieces are reminiscent, in their density and hardness, of stoneware; rhyton legs and large pedestal bowls are often of this fabric. Another kind of thick walled pot has a pink or pink-buff fabric, usually

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Ware than Black. There seems to be a chronological progression from the unthickened or slightly thickened to the massive Grey types, like 30:7. Corinth (Walker-Kosmopoulos 1951, pl. 2FCP 5). Franchthi (Jacobsen 1973a, fig. 5: 7, 10. Fig. 5: 6, 8, 9 appear to be local variants, as do the rolled rims of Franchthi 2, figs.7 a,b, which I have not seen elsewhere). Alepotrypa. Aria, (Aria, pls. 21:13, 21).

the only one from Forum West. The crusty raised grey decoration seems to be a kind of white paint. Corinth. Early; Late C.B.M. Convex. 27:3,5. 3 ex. Uncommon in Early III. 27:5 from Asea, had a white painted decoration which appears to imitate the plastic rib and bead technique common in this ware. A more closed rim from Mycenae has oblique white lines from the lip. 27:3 is from Forum West. Corinth; Mycenae; Asea (Asea, fig.48; = Forsén 1996, fig.5:48, a more exact rendering). Early; Late

PB Concave Horizontal and Drooping Rims. 25:3. 2ex. The only two examples of this very Corinthian Grey shape also have the notched lip that is otherwise found exclusively on Grey Ware lips. They are brown, not black, and undoubtedly belong among the Late types. Corinth. Late

Shoulder Bowls These are variable and difficult to categorise. Their basic features are the shallow proportions, a more or less rounded side with a very slight to marked thickening of the shoulder, and an offset rim with a faintly everted or bead lip.

PB Concave 4, Plain Rim. 25:5 3 ex. A Grey shape, like all shallow concave pedestal bowls. One of these is in fact dark grey, and one is in a dark coarse ware. Corinth; Aria, (Aria, pl.22:24) Late

Shoulder Bowl I. 27:1,2,4,6. 8 ex. Shallow bowls with a barely thickened shoulder. Two have oval pellets set obliquely on the shoulder, and one a round pellet. 6 is from Forum West. 1 is slightly different from the others and perhaps very early (cf. 18:2). The shape is basically Early, a precursor of the typical Grey types. Corinth; Asea; Alepotrypa; Franchthi 2, fig. 6d; Aria, (Aria, pl. 32:92) Early;Late

PB Concave 3. 25:4,6 and as 30:13,15. 10 ex. There are two each like 30:13,15, which is a characteristic Grey shape, and five like 25:6, which lacks the swollen rim, and of which type there is only one Grey example. It may be considered Early. Corinth (Walker-Kosmopoulos 1951, pl.2 g); Alepotrypa; Aria, (Aria, pls. 21:8,9) Early (25:6); Late (the rest). PB Convex. 25:1,13. 2 ex. Convex pedestal bowls are virtually unknown in Period III, at least until very Late There are none in Grey. Douzougli illustrates one from Aria, Alepotrypa. Aria, (Aria, pl. 23:28) Late III or IV

Shoulder Bowl II. 27:7,8,10-12,20. 11 ex. A variable shape with Grey parallels. The thickened shoulder, bead lip and incised or scratched decoration are characteristic. Many are black and tan, the separation of the zones being strongly marked. One has plastic decoration (11), and one from Forum West is between 4 and 12 in shape with a round knob on the shoulder. 7 has close parallels at Franchthi (Franchthi 2, fig. 6a,c) and Aria, (Aria, pl. 32: 93,97). Corinth (Walker-Kosmopoulos1951, pl. 2 b,c). Early;Late

Simple Open Convex Bowls. 25:15,16,20. As 31:11,13. 6 ex. This ubiquitous Period IV form is surprisingly uncommon in Period III Black Ware, although commoner in Grey and other wares. A rim like 31:13 looks like an accidentally reduced Matt Painted bowl, since the texture and fabric are typical of that ware and not the Black. 16, from Nestor's Cave is a curious piece with no parallels I know of in the Peloponnesian Neolithic, though it bears an interesting if perhaps irrelevant similarity to certain Beycesultan Late Chalcolithic I bowls (French 1961, fig.4:6,7) both in shape and decoration (cf. 50,1 from the same site, placed among the Crusted Ware because the white paint is so thick and crusty). 20 is from Forum West and Early, the others are doubtful. Corinth; Nestor's Cave. Early;?Late O.B.M. Concave 1. 25:17, 6 ex. These are no doubt from concave cups like 31:22. Of the six, four are grey inside and one is brown burnished. 17 is

Shoulder Bowl II, variation. 27:13,16; 93:3,4. 8 ex. Similar to the previous but more closed and without the thickened shoulder. There are five like 16 from Klenia, most with plastic decoration. Corinth (Walker-Kosmopoulos 1951, pl.2e); Klenia; Asea (Asea, fig.37a). Late Shoulder Bowl III. 27:18,19. A Grey Ware shape. Corinth; Aria, (Aria, pl. 31:90)

71

3 ex. Late

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Carinated Bowls with Straight Lower Walls. Most of these are Grey; there are dozens of grey carination fragments from the Temple Hill excavations from different shapes, and very few black. So this trait may be taken as a Late Period III trait in general. One or two examples from Forum West prove that it develops earlier.

Carinated Shapes These are less common in Black than in Grey Ware, and the proportion of sharp carinations with straight lower walls to soft carinations with convex lower walls in lower. Convex Lower Walls O.B.S. Straight 1. 26:4,6. 3 ex. Two are from Forum West, and one is white painted. The Grey examples have sharper carinations and straight lower walls. Corinth; Aria, (Aria, pl. 28:61). Early

Platters As 32:2. 1 ex. These more or less flat bottomed shallow vessels are a Grey Ware type. Perhaps Walker-Kosmopoulos 1951, pl.4 d is one, but this is doubtful. Corinth. Late

O.B.S. Concave 1. 26:3,8,9,10. 3 ex. One is white painted and one has a brushed black slip and a Grey Ware parallel. 8 is from Forum West. Corinth (cf. Weinberg 1937, fig. 24 a, Franchthi 2, fig. 8 c in Grey). Aria,. Early; Late

O.B.S.Concave 1. 26:1 and as 32:4,7. 3 ex. There is a unique, very fine miniature bowl with the same profile as 32:7 from Forum West, with white paint. Otherwise the shape and similar types are all grey. It shows perhaps, like the Grey sherds which increase in number in the later Forum West levels, that the deposit reaches into the beginning of the Late Phase. Corinth. ?Early;Late

O.B.S. Straight 0. 26:5. 3 ex. These all have soft carinations. One is silver grey inside, and another was decorated, whether with white paint now lost or reserve pattern burnish is not clear. Two from Forum West. Corinth. Early

O.B.S.Straight 1, Plain Rim. 26:2. 5 ex. Two have white paint, and one the Late burnish ripple of the Grey Ware. Corinth. ?Early;Late

O.B.S. Concave 0. 26:7. 4 ex. A variation on the previous with which it could be taken. 7 is from an early level at Franchthi in which Urfirnis predominates, and the shape occurs in that ware. There is a rather coarse one from Lerna. Deeper versions exist(Aria, pl. 28: 68). Corinth; Franchthi (Jacobsen 1973, fig.5:3); Lerna. Aria, pl. 30:78 also white-painted. Early

O.B.S.Straight 1, Swollen Rim. 26:18. 3 ex. 18, from a Franchthi stratum, has a rather East Aegean looking pattern burnished decoration, although the same decoration and rims are found at Corinth, although not together. Corinth; Franchthi (Franchthi 2, fig.16 k,l,m; 35 h). Early; ?Late

O.B.M.Straight 0. 26:13,14. 3 ex. Two have white paint and one a large, unusual strap handle. Another has a perforated lug and suggestions of a foot or pedestal, also unusual. One is from Forum West. Corinth. Early; ?Late

C.B.M.Concave 26:12. 5 ex. One from Franchthi is early, but 12 from Klenia has white paint and ripple burnish. The latter trait, the strap handle and the frequency of the same shape in Grey point to the Late Phase for it. Corinth; Klenia; Franchthi (Jacobsen 1973, fig.5:1) Early; Late

O.B.S. Straight. 26:11,16,17. 4 ex. 11, from Forum West, has the same everted lip that occurs on the Matt Painted equivalent from the same deposit (40:4), a local trait. A similar bowl from Franchthi, without the everted lip, is from an early Urfirnis dominated level. 16 and 17 are dark grey, and with their thickened shoulder look Late Corinth. Franchthi. Early; Late

Collar Bowls. 29:7,9. There are a few fragments of this not well developed shape, which merges into the wide collar jar. Rims, which commonly break at the constricted shoulder junction, are not distinguishable. The shape is fairly common in the heavy dark burnished ware, often with fluting, which I have put into Period IV. Corinth. Alepotrypa (Hauptmann 1971, fig.54 e). Late

C.B.Concave. ?Deep. 26:19. 1 ex. No high-sided carinated bowls of the common Central Greek type have been preserved, to my knowledge, in Corinthia, but this sherd shows that they must have existed. As similar shapes are not infrequent in Grey, it is more likely to be Late. Corinth. Late

Piriform Jars. 29:1,4,8; 92:2. 7 ex. The shape is common in Periods II, III and IV. 8 is from an early Franchthi level, and 4 from Forum West. One

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

from Lerna has the ripple and bead decoration. Corinth; Klenia; Argos; Franchthi; Lerna; Aria,. Early; Late

seem relatively frequent; they are hardly existent from the Temple Hill excavations where Grey Ware was prevalent. Few have the sharp base-wall angle (26:24) found in Grey Ware. One or two convex bases were noted (26:25).

Collar Jars Pedestals. There are several types, which fall roughly into four groups, only the first of which has any stratigraphic context.

25:18-19; 21-27

Type I, Wide Waist. 25:18,19,21,22,23,27. 13 ex. Generally steep-walled, and a number are very large. 19 from Kouphovouno is a typical Urfirnis pedestal and probably early. 21 from Franchthi comes from an early level. 18 and 27 are from Forum West. 22 from Corinth, convex, is unique. Corinth; Franchthi; Kouphovouno; Aria, pl. 23:31. Early;Late

Wide, High, Concave Collar. 28:2,5-8,11; 92:4,5. c. 8 ex. These are all from Forum West, and seem characteristic of it. They have globular, more or less squat bodies, with concave collars commonly set off from the shoulder by a groove. 6 and 8 have parallels in the Gonia Polychrome. A huge one is published from Franchthi. They are decorated with white paint, plastic strips and ripple and bead. Corinth. Franchthi (Jacobsen 1969, Franchthi 2, fig.9 c,d); Aria,. (26:49). Early

Type II, Narrow Waist. 25:25,26. 7 ex. Two have solid shanks, 26 from Forum West and one from Gonia. 25 and another from Alepotrypa have a dark mahogany burnished finish and could be from IV, except that this type also occurs in Grey. 26, like many pieces from Forum West, is tan and dark streaked. Corinth; Tarsina; Gonia; Alepotrypa. Early; Late

Wide: Thickened shoulder, concave collar. 29:10.11. 5 ex. No stratigraphical evidence; they seem to go with 12 and 13. The same shape occurs at Alepotrypa in the red ware which typifies Period IV. Corinth; Alepotrypa. Aria, (e.g.25: 47) Probably Late

Type III, Massive. 25:24, 3 ex. 24 has a pink body and black brushed slip. Another from Kouphovouno is rather less massive. 25:13 must have had such a pedestal. Corinth; Kouphovouno. Probably Late

Narrow Inturned Concave Collar. 29:12,13; 90:1. 3 ex. I have only seen these in Black or Grey monochrome at Alepotrypa, but the shape is common in Matt Painted ware from there. The shape but not the handles is also Period IV. 12 is not all black, but heavily mottled with grey and cream, and could as well be classified as Grey, but is so close to the black and brown mottled 13 that they have been kept together. Alepotrypa (Hauptmann 1971, fig.54 b) Aria, 33:105 Probably Late Narrow Concave Everted Collar. 28:1,3,4. 6 ex. The type is not common in this ware compared to Matt Painted. None are closely datable. Corinth; Alepotrypa; Nestor's Cave. Early or Late

Lugs No plain lugs were noted and vertically perforated ones are very uncommon. In Forum West there are a couple of vestigial waisted-handle lugs, one unperforated (92:4) on the belly of a jar like 28:11, and a smaller perforated one on a closed round belly. Strap Handles These are not common; only two were noted on bowls or cups (26:12,14) and two or three on collar jars like 29:12,13, 29:6 is part of a curious asymmetrical strap, possibly from a rhyton, although it does not have the D section usual on them. 26:14 is unique and unstratified; the others are typically Grey Ware types. They are surely Late.

29:5. There are a number of these fine rims from Corinth, including the Scratch-Crusted one illustrated by Weinberg (47:24; 1937, fig.29 k), some with a high glossy burnish. Since this form of decoration is thought to be later, Weinberg's sherd has been put with the others, but the shape, a wide collar bowl or jar, may begin earlier, and some of the sherds could come from shapes like 28:11.

Miscellaneous 28:9 appears to be from a rectangular couch or bed model with four legs, now broken, and with two small perforations at the preserved end.

Bases. 26:20-25. There is the usual range of bases, but no concave or ring feet, in marked contrast to Period II; they have completely died out. Among the Forum West material concave bases

28:10, unstratified from Corinth, is part of a lid, oval in plan, with white-filled scratched decoration on the top and traces of red crusting under the lip. The ware,

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

decoration and red crusting are characteristic of the rhytons, which also are the only vessels to have oval mouths. It could perhaps have been part of a cover. 92:1 is the anthropomorphic root of the handle from a small bowl or dipper, clearly inspired by the fat female figurines so well known in stone and clay. It is from Forum West, and Early Period III.

Pattern-Burnishing The Forum West and Franchthi material was the main source for this form of decoration for me. The technique appears to be less common in the Peloponnese at this time than in Central Greece. There are three types: one in which a large part, if not the whole, of the surface is covered with lattice pattern (26:18); a second in which a rectangular reserve panel is decorated; and a third which consists of simple groups of vertical lines. In the latter case it is not always certain that the lines were not caused by an original, now worn, white paint; especially since the motifs are identical. But Weinberg 1937, fig.29 c (pattern as 35:2) on a carinated bowl is certainly pattern burnished, with close parallels in Boeotia.

Black Ware Decoration This is by white paint, pattern burnishing, incision, grooving, rippling and plastic. White Paint. 25:16,17; 26:3,6,7,11,13,14; 27:8; 29:14,8; 35:1-5; 92:2,3. This is the commonest form of decoration. The paint varies from thin and smooth to thick and crusty, and very often the paint itself has worn off, leaving a grey unburnished streak on the surface. In this it differs from the Crusted paint of Period IV, which generally leaves no trace on the surface, which was burnished before being painted, an exception being the ghost-painted ware from the Agora wells. White Painted decoration is used on most shapes, but not, significantly, on those shapes which, though sometimes in Black, are most characteristic of the Grey Ware. These include Shoulder Bowls and some carinated forms. There is a great deal, relatively, at Corinth, especially in the Forum West deposits, as well as at Franchthi, where material corresponding to Late Period III seems scarce.

35:16, on the inside of an open bowl and two similar fragments are from Forum West and have an exact parallel from Drachmani (D.I. photo 156), which further confirms the Corinthian-Central Greek connexion. Lattice motifs are popular, either overall (26:18 from an early Franchthi level), or very finely drawn in reserve panels (35:17 from Forum West, on a collar bowl or jar, and the identical Jacobsen 1973a, pl.50 e from Franchthi). A fragment with a simple decoration of fine oblique lines filling a reserve panel, just like the finely scratched band on 27:10, is published by Weinberg (1937, fig.29 d) and might be a little later.

The patterns are mainly simple linear with a few odd motifs. Among the first are single or multiple straight horizontal lines, commonly around the upper wall of carinated bowls: 26:7; 29:2; 35:1; groups of vertical lines, sometimes wide: 25:17; 29:1; 35:2,8; 92:4; chevrons and zigzags: 26:3,6,11,14; 35:3,4,5,6. Among the other motifs are wavy lines: 25:16; 29:4; (35:10 is a Grey sherd, unique); 92:2; arcs: 26:7; triangles: 29:3; ladder pattern: 35:6. The curious 28:7 from Asea has already been mentioned.

Lastly, two sherds from Forum West (35:18,19) have a very fine scribble pattern in a reserve panel, which seems to spring directly from the late Urfirnis motif on 23:59, although I have not seen any of the latter at Corinth. This pattern is otherwise unknown to me south of Thessaly, where it is very characteristic of the Arapi Phase (Hauptmann 1969, figs.12,6,7; 17:9; 20:4), but is used there in quite a different fashion. Black Pattern Burnish no doubt derives partly from Urfirnis ware, but pattern burnishing in general is a natural development wherever black pottery is widely produced and a fine burnishing technique is employed. However, there is not a single piece from Gonia or Klenia (or Alepotrypa), so that, like the White Paint, it must have disappeared for a time, somewhere in Early Period III, to re-emerge at the end of the Period.

Corinth (Weinberg 1937, fig.29; LWK, fig.51; 1951, pls.2 d; 4 d; Franchthi (Jacobsen 1969, fig.8; 1973, pl. 50 c; Asea (Asea, fig.48;) Klenia; Mycenae; Alepotrypa; Nestor's Cave. White on Black appears early at Franchthi and is common in Forum West, so it clearly spans the Early Phase of Period III. I saw only two sherds from Alepotrypa, where there is very little Urfirnis, and only one or two at Klenia. There is none from Gonia, where indeed there is very little Black Ware at all. It would appear therefore to have virtually died out by the time Polychrome was flourishing at Klenia, Gonia and Prosymna, which by my dating is late in the Late Phase of Period III. It may be said to have finished somewhere near the beginning of the Late Phase.

Incision and Grooving This is confined to a few Shoulder and perhaps Collar Bowls of types that are similarly decorated in Grey Ware (27:10.12,13,18). There are three examples of 34:18 in Black Ware, and one from Argos in tan. In all, only some seven or eight fragments were noted, to which may be

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

added Walker-Kosmopoulos 1951, pl. 2 b, a standard type; and less probably pls.2 c and e, which look more like rhyton decoration.

The shapes include a pedestal bowl, collar bowls and wide collar jars. The pattern is lightly incised and the solid motifs are filled with fine scratching, whose function was to key in the white crusted paste, which has sometimes survived (57:21; Caskey 1958, pl.36 a). The rim is often incised with a line, and the carination emphasised by a line of short strokes (47:24,28) or pricked dots (47:23). The motifs are triangles, lozenges or broad bands. There is an instance of vertically opposed triangles at Lerna. Weinberg 1937, fig.29 i,j,k; Zervos, 374; Caskey 1958, pl.36 a,b,c.

Rippling This is found on very few Black Ware sherds, and it is used in the same way and on the same shapes as the Grey Ware (q.v.), so may be considered late. In one case a bowl like 26:2 was ripple decorated with the 34:13 motif. Rib-and-Bead. 28:5,7; 34:41:32.

4 ex.

Three of these are from Corinth and one was noted at Lerna. The technique is obscure and Heurtley's explanation not altogether satisfactory (1939, 69). The fine ridges were probably made with a burnishing tool, and the beading by stamping the outermost ridges with a thin hollow tube or concave-tipped comb, before the final burnish. Kunze suggested rouletting (1931, 18). From its rarity in the Peloponnese and its frequency in Central Greece, which must be its home, it is probable that our pieces are imports or imitations. The fabric of the two Forum West examples (28:7; 34:32), with their thick red core, is out of place at Corinth. One sherd comes from a jar belly (28:7); C - 68 - 129 from Corinth could be from a piriform jar; the Lerna rim is straight and closed (34:31); and 34:32 is a very slightly concave wall, conceivably from a deepish carinated bowl of the Orchomenos variety. In Corinth their context would put them in Early Period III.

This is a Central Greek type of decoration. A number are published from Thespiae (Caskey 1951, pl.87:16); Orchomenos (Orchomenos, pl. VI 1 a,b,c,e); Elateia (Elateia, pl.62d,6) and there are more from one or other of the Drachmani sites (D.I. photo Archive). The shapes, as far as one can see, are not carinated bowls but round bellied vessels and perhaps collar bowls (Orchomenos, pl. VI:1 a). There are differences both of pattern and style, particularly in the use of dot and dog's tooth edged bands like Orchomenos pl. VI:1 a,b,e and other unpublished ones. The close similarity in pattern between these and the rib and bead decorated sherds (pl.VIII: 2 a) suggests that the two are contemporary. Scratch-Crusted Chronology There are no stratified sherds of this kind in the Peloponnese that I know of, and the range of shapes is small. The collar bowl, 47:23, is found in the late Grey Ware. The Corinthian sherds are from the 1937 excavations, where Forum West material is hardly represented, and which I take to be later. There are none from Forum West. Equally there are none from Gonia or Klenia. The bulk of the material from Gonia is Late III, and from Klenia Late III and IV. This suggests, although the scarcity of the decoration does not allow great certainty, that Scratch-Crusted should be put in the Late phase, between the phases represented by Forum West and the Gonia Polychrome. This also would not conflict with such evidence as there is from Boeotia, because there was none in the Bothros at Elateia, and the sherd shown in Elateia, pl.62 d: 6 was found above the burnt house in trench 1, that is to say with the Matt Painted, but below the Polychrome, which was all in the top 80 centimetres of mixed deposit. It should be noted that pl.62 d: 7-9 are, like Orchomenos pl. V:1 and pl. VI 1, of a different type, which is not found in the Peloponnese.

Plastic decoration As well as round or oval pellets on shoulder bowls (27:4,7) or collar jar bellies, plastic strips are used to make simple patterns. Arcs are found on a shoulder bowl (27:11) and a wide collar jar (28:11) from Corinth, the latter from Forum West. At Klenia there are half a dozen examples: two on black coarse ware like 27:16, and a vertical strip to the rim on a coarse ware bowl of similar shape. Grey fragments from there, which must be contemporary, are decorated and come from similar bowls: one with a straight oblique strip and two with zigzags (91:2). 25:26, with a strip spiralling the pedestal, is from Forum West. A couple of Corinthian sherds also have traces of plastic decoration. They are very few, however, and seem to span the Early and Late Phases. Scratch-Crusted. 47:21-28. 10 ex. This forms a small but significant class known to me only from Corinth and Lerna. The Corinthian sherds have a highly lustrous black burnish; one is red-buff and another tan inside (47:26 and 28 respectively).

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

painted sherd in his fig.6 appear to have more in common with the Boeotian than the Corinthian shapes, but I have not been able to inspect the sherds personally. The South Slope material at the Acropolis has more Grey than Black Ware, like Gonia. Among the two or three Black sherds one is pattern burnished like the Weinberg 1937, fig.29 c, but the profile is like that of 29:1; it could be from a piriform jar or a carinated bowl like 26:19 or the Boeotian types. The pattern also occurs in the latter region.

Distribution of Black Ware Peloponnese. See Sites, p. 66. West Greece There is Black Ware from a number of sites, but little and not for the most part diagnostic. Some of it belongs to Period IV. Interesting parallels at Astakos are discussed in the Grey Ware section. They might indicate a Peloponnesian connection. The fine Levkas Black Ware with its beaded decoration has no parallel in the Peloponnese; it is closer in many respects to Milojc¬ic´'s Larissa Phase in Thessaly and the late Neolithic of Servia.

The other Grey-Black profiles from Nea Makri are dealt with in the Grey Ware section, but the black patterned burnished bowl in Theocharis 1956, pl.14 needs mention here. The shape would pass as Corinthian, but the combination of shape and decoration is more reminiscent of some Orchomenos fragments.

Central Greece Pedestal bowls are rare at Orchomenos, but the two illustrated (Orchomenos, fig.11a,b) are close to 25:4,12 as well as to Grey ones. The pedestals shown in fig.12 (one is drawn as a rim) are both common types and occur at Elateia (Elateia, fig.8).

The Black sherds published by Theocharis from PsachnaVarka (1959, figs.9:2,6; 10:4) are not diagnostic except for fig.10:4, which with its rib and bead decoration looks typically Boeotian. I noted some fourteen Black and eight Grey sherds among the Euboean Survey material from Psachna-Varka. The Black shapes include a straight pedestal bowl rim, shallow like 25:7, without the thickening but with a slightly bevelled lip (Euboea fig.18:18, drawn inside out), a large pedestal junction like 25:21; and a pedestal foot like 25:22, but straight. Fig.18:19:39 are a sharply carinated shoulder and flat foot of Grey type, respectively. There is a piriform jar rim like 29:4, with a very fine horizontal plastic cordon; one like 33:12; and a bowl like 33:5, but more open. The BlackBurnished shoulder on fig.18:20 has a horizontal row of beading, or tiny pellets, which is Boeotian, not Corinthian.

The plain open bowls in Orchomenos figs. 5 and 8a have more parallels in Grey Ware, and 5 itself is rare at that site. The shoulder bowls in Orchomenos fig.7:1,2, which are so typical at Corinth, are rare at Orchomenos (ibid, p.12). There are many more at Elateia (Elateia, fig.11), and others at Chaironea and Pyrgos. The profile of an unpublished fragment in Chaironea museum is identical to 31:24. The carinated bowls which are the characteristic shape at Orchomenos (pl.I:2), Eutresis (Goldman 1931, fig.89; Caskey 1960, fig.4) are not typical, even if they occur, in the Peloponnese, nor is the decoration on them. Orchomenos pl.V:3 and the Bothros bowls in Elateia, fig.10:1,4,7,10 have closer parallels at Corinth, especially in Grey Ware.

The North Certain of the shapes and the white painted and pattern burnished decoration, of the Tsangli and Arapi Phases of Thessaly appear fairly close to the Peloponnesian material, at first glance. There are, however, many small differences of shape and the decoration is treated quite differently (Hauptmann 1969). Many Corinthian shapes are lacking from the Thessalian repertoire and the sum of the differences is on the whole greater than that of the similarities. Nevertheless, of the Peloponnesian and Thessalian cultures are sufficiently alike in their outlines to indicate a parallel development from beginnings that must have had much in common, culturally and chronologically.

The repertoire of Black Ware shapes in Central Greece is very limited and many typical Corinthian profiles are missing. This fact, and the differences in carinated bowl shapes, are hardly surprising in two areas so geographically separated. The same differences have been noted in the decoration. There are, however, sufficiently convincing parallels and similarities in a number of other specialised wares and types to suggest that there were relatively close connections between the regions at this time. Attica and Euboea In the Athens area Period III material is known from Palaia Kokkinia (Piraeus) and the Acropolis. The carinated profiles in Theocharis 1951, fig.7, and the white

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Early III (Forum West), but I cannot show stratigraphically which are the earliest shapes. Therefore where a shape has many or close parallels in the Forum West Black Ware known to me, I have put Early after it, to indicate that it has Early affinities.

Red Slip. 27:14-15,17,19 Some half dozen sherds from different sites are conspicuous for their red slip. In two instances the fabric is grey, while in the others it varies from red-buff to pale or dark brick. The slip is bright red on 27:17,19 and dark red on 27:14,15. Another, like 27:10, is partly tan, where it has not oxidised to red. 27:15 may be a simple base for a shallow concave bowl, but it is more probably part of a platter like 32:1.

Black Ware of course continues side by side with the Grey, and the existence of a Grey shape in Black does not necessarily mean that it is Early. Pedestal Bowls. Fig. 30

The shapes put them all in the Late Phase of III, and they are no doubt just variations, accidental or deliberate, of the Grey and Black Wares. They might be regarded as harbingers of the trend to the red wares that become commoner in IV.

This is probably the largest single category of shapes in Grey Ware, and their numbers far exceed those in any other ware (table on p. 70 for Black Ware pedestal bowl proportions). Their numbers are perhaps only equalled by the carinated bowl family, taken all together. The large number of pedestal bowls is reflected in the variety of shapes and traits. These are listed in some detail, because in the absence of good stratigraphic evidence at Corinth, the distinguishing features of what one might label the Grey phase at Corinth can only be isolated typologically. It seems to me that an analysis of the Grey shapes, mostly from the 1937 Temple Hill excavations, makes this possible. There are many similar profiles from Aria, (Aria, pls. 2123).

Corinth; Phlius (Biers 1969, fig.3:74 is a heavy red slipped pedestal foot, diam. over 20cm, comparable to 25:24; 30:29; the fabric and finish look Neolithic, but an EH date cannot be excluded); Klenia; Argos. Late Grey Ware. Figs. 30-34; 35:20-26 The ‘Proto-Minyan’ of Walker-Kosmopoulos was well described by Weinberg (1937: 503). It is typically hard and dense in texture with fine calcareous inclusions, which too fierce an acid bath will readily turn to pinholes. The commonest shade of fabric at Corinth is a pale dove grey, which may have a slight green, cream or buff tinge. A few fine vessels are very pale, silvery grey (90:3,5,6). The fabric may also be darker grey, and outside of Corinth the most usual colour is a medium grey. Some of it was slipped, although this may not be apparent to the naked eye (Kilkoglou & Maniatis 1993, 440-441). Cf. Douzougli’s Black-Grey category, in which most of the material is dark to medium grey, with a small “milky grey” group (Aria, 66-67; and 86 ff for a discussion). A variety of Grey Ware is khaki or tan in colour, and the surface often covered with small white marks and striations, clearly visible on 90:2,4. The small number of examples and the identity of the shapes with the normal Grey Ware, do not warrant assigning this variant, whether intentional or fortuitous, to a separate category.

Straight/Concave 4 (less than 15 degrees) 30:8,11. 3 ex. Two with lips like 11. Only in Grey. Corinth. Straight 3. 30:9 and as 25:10,11. 3 ex. 9 has a matt, purplish red rim band, and the tapered lip is unusual in Grey. Both are typical Matt Painted traits. Corinth; Argos; Alepotrypa. Early Straight 3, Thick, Bead Rim. 30:4,7. 6 ex. Slightly thickened straight rims are the main Black type. The heavier, like the Concave, types, are only in Grey (e.g. 30:7). Corinth; ?Prosymna, fig.621:5, if this is grey and not black). Early Straight 2. 30:12. 1 ex. An odd steep variation. Corinth. Concave Pedestal Bowls. See below. These form some 80% of all pedestal bowls: 50% Grey, and 30% Black.

A dozen or so sherds have a thin, dark, transparent slip, which was applied with a stiff brush, and retains the fine imprint in the clay even when the slip itself has worn off. The same brushed technique, with a thicker and more opaque slip, produced some of the Black Ware. Most of this group of sherds are from Late shapes and some have the characteristic rippled or fluted decoration (e.g. 34:25).

Shallow, Drooping Rim. 30:5,2. 17 ex. The rim droops below the horizontal. 14 have thickened rims with waisted or slightly beaded lips. 8 of the lips are notched, and four slightly upcurled. All are Grey. Corinth.

I have omitted the designation Late after a shape, in the catalogue below, since I take Grey Ware to be a type indicator of the Late Phase. Grey Ware certainly begins in

Shallow, Horizontal Rim. 30:1,2,10. 22 ex. Dominant shape. Most are like 1; seven are like 10. Nine have notched lips and one a painted rim band. Except for

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

two dark brown examples (25:3), these are exclusively Grey. Corinth.

O.B.M.Convex 0. 31:2. Corinth. Comment as previous.

Medium, Concave 3. 30:15,16-19. 16 ex. Half of this group have plain rounded or slightly tapered lips (30:18,19), and half have thickened rims with more or less accentuated bead lips (30:13,15); one has a notched lip. The rolled lip of 17 is unique. Two are grey out and black in, and there are a few Black Ware examples. Corinth (Weinberg 1937, fig. 22); Klenia; Argos.

O.B.M. Concave. 31:22,25,26,28,29. 22 ex. Concave sides, flat base and a small or medium strap handle characterise some examples of this common Grey shape. A number have a particular decoration, confined to this shape: a row of round or rectangular dots pricked into but not always right through the inside rim. Cf. Aria, 73, pl. 23:27. There are two forms: one more open (28,29) in which the rim angle approaches that of the pedestal bowl, and a steeper, perhaps narrower form (22,25), which are true cups. There are ten of the former and twelve of the latter. The rims of the open variety can generally be distinguished without trouble from those of pedestal bowls of similar angle by the lip, which differs in the two categories. Corinth; Klenia; Argos.

Medium, Concave 2. 30:14,6; 91:9. 10 ex. These have a straighter wall than the previous. All have rounded or slightly tapered lips, four notched. Only in Grey. One from Klenia had a strap handle, unique for this shape at this time (91:9). Corinth. Klenia.

3 ex.

Simple Open Bowls

Closed Bowls

Open shallow or medium bowls are common in Grey Ware, unlike the Black Ware. Some 40 different examples were noted. A few, like 31:1,4, were very likely pedestal bowls; but having no evidence one way or the other on which to separate them, all are taken together.

Plain convex closed bowls are rare, but there are many varieties of more or less shallow shapes with thickened shoulders and profiled lips. This category includes the various Shoulder Bowls. C.B.S. Convex, Plain. 31:9. Commoner in Matt Painted. Corinth.

O.B.S. Convex 2. 31:1,4. 12 ex. All have rounded or slightly tapered lips. One very thick, heavy bowl, with a profile like 1, has the grooved decoration of 34:5 around the outside (Klenia). A dominant shape from Late III into EH, in every ware. Corinth. Klenia.

1 ex.

Shoulder Bowls I have subdivided this class to point up the many subtle variations, which may or may not have a useful chronological significance, some of them being found and others lacking in the Black and Matt Painted wares. Cf. examples in Aria, pls. 31 and 32.

O.B.S. Convex 1, Plain Lip. 31:3 4 ex. Steeper variation of the previous. The lip may be rounded or squared. Corinth.

Shoulder Bowl I 31:20. 5 ex. This has a thickened, evenly rounded shoulder with a more or less sharply offset lip. 20 has a row of vertical slashes on the shoulder; another has faint oblique fluting and a thin brushed slip. Common in Black, but none from Forum West, so probably not very early.

O.B.S. Convex, Various Rims. 31:7,10.13. 12 ex. Modified rims are popular in the Grey and Matt Painted wares. 10 seems to be the most frequent (9 examples); the expanded lip is more or less flattened. Found in Matt Painted and Black-on-Red; one in Coarse Black Ware from Klenia has a perforated rim lug (13). Corinth; Klenia; Argos; Lerna.

Shoulder Bowl II (elbow) 31:18,23,24,27,30. 14 ex. A variable class with thickened angular shoulder and straight or slightly convex lower wall. There are two in Red Burnished slip (27:18,19). This is a characteristic Grey shape, though found in Black and Matt Painted. Commonly decorated with incised or grooved patterns and with lip notches. 23 is unique. Corinth (Weinberg, 1937, fig.26 a,b,c,d; 37; Zervos, 376,377); Klenia (in red); (one from Corinth in fine lt bf ware.)

O.B.S. Convex 0. 31:6. 3 ex. A variation with a slightly swollen rim. One from Argos has a narrow lip groove. Found in Matt Paint and Polychrome, but not Black Ware. Corinth; Argos. O.B.M.Convex 1. 31:11. 6 ex. The row of incised lines in 11 is unique. The shape is not found in Black, but is very common from now until EH in many wares. Corinth.

Shoulder Bowl III. (hook rim) 31:15,16. 6 ex. Shallow bowl with more or less thickened inturned rim. Similar shapes in Matt Painted. No Black. Corinth; Klenia; Lerna.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Shoulder Bowl IV. (duckshead) 31:17,19,21. 6 ex. A rounded, thickened shoulder, with more or less long concave rim. Often decorated with incision, grooving and lip notches. Found in Matt Painted, but not Black Ware. Corinth (cf. Weinberg 1937, fig.23b; Zervos, 375, left); Klenia. For the dot-filled triangle motif on 17, cf. Aria, pl. 32: 98.

11, and this group should be taken with the sharpcarinated bowls. Handles are not unusual. Sharp Carinated Bowls Most have straight or concave lower walls. Shallow bowls are popular, but there may be more deeper forms than can be identified from broken sherds.

Carinated Bowls Platters. 32:1,2. 7 ex. Six have the thin flat base of 1; there are two red ware examples, and one in Black, like 2. This is a typical Grey Ware shape, only noted at Corinth. Late

Probably the second largest class of shapes after pedestal bowls at Corinth. Four features may usefully be distinguished: soft and sharp carinations, and convex and straight lower walls. Sharply carinated shoulders with straight or slightly concave lower walls are commoner in Grey Ware at Corinth, and perhaps later, while soft or blunt carinations with convex lower walls are commoner in Black and Matt Painted wares: Carination°

Convex Lower Wall

90-105 (e.g. 32:30) 110-120 (e.g. 32:28) 125-130 (e.g. 32:20) Totals

Gr 2 9 2 13

Bl 0 1 3 4 17

O.B.S.Concave/Straight 1 (dish) 32:4,5,7,8,9. 12 ex. A shallow form closely related to the previous. Eight have the thickened carination of 7 and 9; one small straight sided bowl has a strap handle (8).Some are very wide. One is painted inside and out (9). There is a miniature bowl from Forum West, Black-Burnished and White painted, but it is so small and fine that the similarity is perhaps not so significant. Otherwise they are all Grey. Corinth; Klenia. Late

Straight Lower Wall

Gr 18 11 3 32

Bl 5 2 1 8

O.B.S. Concave 0, Short Rim. 32:10.15,16,18. 12 ex. Differentiated from the preceding and following groups by the slightly deeper form and relatively short vertical rim above the carination. 18 is the standard type; 15 is exceptional. A concave lower wall is common, and occasional handles or lugs. Corinth; Klenia. Late

40

This table gives an idea of the Grey/Black Ware proportions of sharply carinated bowls. The sherds , with one or two exceptions, are taken from the 1937 Temple Hill excavations, and do not include any of the rims in the catalogue of shapes below. They are grouped according to acuteness of angle. A straight lower wall and more acute carination seem to be late features.

O.B.S. Concave 0, Medium Rim. 32:12,13. 9 ex. Shallower form than the previous, with rather deeper concave wall and rim. One has a tubular lug on the carination (like 90:11). 13 is one of the few Corinthian type Grey Ware sherds I have seen from Franchthi. Corinth (Weinberg 1937, fig.24b.c.); Franchthi (Jacobsen 1973, fig.5:2); Aria,. Early;Late

Soft Carinated Shapes These generally, but not always, have convex lower walls and the carinations are not sharp. O.B.S. Concave 1 and 0. 31:8; 32:3,6; 91:4 6 ex. These have more or less vertical sides; two are slightly more open. There are a couple in Matt Painted, and several in Black Ware, including one from Forum West (26:8). Others have the Late Burnish ripple (faint, vertical, visible on 91:4). The unusual 31:8 perhaps belong here. Corinth (Weinberg 1937, fig.24 a); Prosymna (fig.621:3); Aria,. Early;Late

O.B.M. Concave 0. 32:20.25. 3 ex. Deeper open forms are uncommon among identifiable profiles. There are no doubt more. These two are from different shapes. Corinth. C.B.Straight 0. 32:19. 1 ex. This sherd is isolated here because it is from the Forum West material and has the characteristic everted lip noted on Black and Matt examples of the same shape.

C.B.S.Concave. 32:17. 9 ex. Eight are from Klenia, one from Aria,. Some have burnish ripple, a Late trait. Klenia; Aria, pl. 30:79

C.B.M. Concave. 32:22,24,28. 8 ex. May have vertically perforated lug or horizontal tubular lug on the carination. 24 is ripple decorated. Corinth; Klenia; Lerna.

C.B.M. Concave. 32:11,14; 91,8. 5 ex. There are four from Klenia with straight lower walls like

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

C.B.M. Straight. 32:26,27. 5 ex. A variation of the previous. 26 is a miniature. Corinth.

Narrow Mouth, Everted Rim. 33:4 5 ex. Two fragments were noted in the Forum West material, one in a ware similar to the Grey on Grey sherds. One from Klenia has red-brown paint (35:24). Corinth; Klenia.

C.B.D.Concave. 32:30; 90:8. Several probable A number of similar carination fragments were noted in Grey (e.g. 90:6) but only one in Black (26:19). Several have a rippled or fluted decoration. Corinth (cf. Weinberg 1937, fig.25 a). Late

Wide Mouth, Everted Rim. 42:7 3 ex. One of these is large and wide like 12, but with the rim turning out more. Corinth. Klenia.

Concave-Convex Bowls. 33:1,2,5,6,8,10,14. 15 ex. A number of S-wall bowls are included in this class which, though not all the same, are not worth separating. At one end of the range they are close to bowls like 26:1,4,6, and at the other they approach the Shoulder Bowl, like 33:17. Characteristically they have the thickened shoulder of the latter. There are eight like 8 from Corinth and Klenia; three like 5 from Klenia, and four like 2 from Corinth and Klenia. They may have small or long strap handles, or lugs on the belly (33:17; 91:7), and are decorated in different ways: by grooving (1), rippling, fluting (2; 91:3), applied motifs (91:2; shape as 33:14). Corinth (cf. Weinberg 1937, fig.25f); Klenia; Prosymna (cf. fig.621:1); Argos; perhaps Asea pl. I j, a curious atypical sherd; Aria,. Basically Late

Neck Jars. 33:13,16. 4 ex. Fine, thin walled vessels, not common. Perhaps a variant of the previous category. Corinth; Klenia. Collar Jars Uncommon in Grey Ware, apparently. But it is very possible that some of the rims attributed to piriform jars are from collar jars (cf. 29:13). Medium Collar Jars. 33:18,19,21. 4 ex. 18 and 19 are normal cylindrical necked jars. 21 from Tarsina is different both in shape and fabric and may not be of this Period. Corinth; Tarsina. High Collar. 33:11,15,24,27. 4 ex. 1 should be from a shape like 29:12. 15 has the high handle found infrequently in other wares as well (egg. 45:8) and is perhaps from a pitcher or askos. 27, from Klenia, also has a Polychrome counterpart from the same site. 24, with a flaring collar and traces of a handle, is curious, and not a normal collar jar type.

Collar Bowls. 33:17,20,22,23,25,86. 20 ex. These tend to have squat round shoulders, often thickened, sharply set off from a straight or concave collar. They seem generally not to be very large; 26 is unusual. The shapes merge into the wide Collar Jar. Some seem to have had handles and decoration; 26 has very low grooving, faint, almost like rippling. The shape also occurs in Matt Paint and Polychrome, but is not common in the Black Ware associated with Period III. It is a characteristic shape in the heavy dark burnished ware which I attribute mainly to Early Period IV, and which is also fluted. There is no doubt a continuity , if not overlap, here (cf. 53:5,6.) and they must be considered generally late.

Lugs. 31:26; 32:16,21,23; 33:14; 34:33-35. Plain and perforated lugs are not very common, and are used chiefly on carinated bowls, some on round shoulders and the occasional concave cup. At Klenia only small crescentic vertical lugs are used on pedestal bowls (34:36). Rim lugs (31:13; Aria, pl.33:102) are a rarity, but there are a number of tubular lugs, sometimes slightly waisted, on carinated or round shoulders. (32:23; 90:11; Weinberg 1937, fig.23 d,g; Prosymna fig.621:7; Aria, pls. 24:40; 25:45; 33:100, almost a forerunner of the classic Period IV Elephant Lug).

Piriform Jars These are common in Grey Ware. The high proportion with strap handles from the rim, or just below, to the shoulder, suggest their function as jugs or tankards. They may be grouped into four types. Early and Late

Handles These are frequent on carinated bowls, concave cups, piriform and collar jars. A greater or lesser degree of waisting (hourglass shape) is characteristic. Late

Narrow Mouth, Vertical Rim. 33:3. ca. 12 ex. Some of these rims could in fact be from collar jars. Corinth; Klenia; Argos; Aria, pl. 33:105. Wide Mouth, Vertical Rim. 33:9,12. Corinth. Klenia.

Small Handles 31:19,22; 32:8,10,11; 34:38,39; 91:7,8. 32:11 represents the average waisted handle; 32:8 shows the slightly bevelled sides which are often found; 34:39 is a nearly tubular handle, a kind prevalent in Period IV. Weinberg 1937, fig.23f; Zervos, 377; Aria, pl.25:46.

ca. 5 ex.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Medium Handles. 31:25; 32:29; 33:3,4,7,9,25; 34:4143; 90:9,13. This subdivision includes merely larger versions of the previous, but also longer, narrow, straight sided handles on piriform and perhaps some collar jars (34:41). The high handle on 33:15, also found in Polychrome Ware, may be from a pitcher or askos, although this shape has not been identified in Grey. There is a handsome decorated example from Aria, (Aria, pl.33:105).

Plastic. 33:6; 91:2,10. Among the Temple Hill material there are a couple of pedestal foot fragments, like 30:27, which had a narrow plastic strip circling the bottom, with, in one case, another strip rising obliquely from it. At Klenia half a dozen sherds from similar shapes (shoulder and collar bowls) have plastic decoration: two have zigzags like 91:2, and one a short oblique strip (33:6; 91:10). There are a very few examples of pricked, punctuate, plastic and grooved decoration from Aria, (Aria, pls. 24:42; 25:43-44; 26:5153; 29:70).

Wide Handles. 34:45,46. There are few fragments of these, and it is not clear what sort of vessel they come from: possibly a piriform jar. Only noted at Corinth.

Painted Fig.35:20-26 Two pedestal bowl rims from Corinth, 30:9; 34:29, the latter a characteristic Grey Ware profile, have rim bands in a dark purplish red, matt paint. 32:9 is decorated in and out with black glossy paint. 35:23 is the wall of a carinated bowl or concave cup, roughly burnished inside, with thick black matt lines on a tan-tinged grey surface. 35:22 is a jar shoulder with black matt on dark grey. 35:26 is a collar jar shoulder from Gonia with matt dark violet paint on tan. 35:24, with red-brown paint, and 35:25 with glossy black paint, are from Klenia. 35:21 from Argos is a typical Late shape with a motif in red-brown paint. 35:10 is white on a grey slurry surface. Weinberg (1937, 504) cites another sherd with thick matt white zigzags.

Horizontal Handles. 34:40. Only two examples noted, from Corinth. Curious Handles. 34:44,47. There are several fragments like 44. It appears to be part of a strap handle rising from the rim of a small hemispherical bowl or scoop (like 31:14) and thickening in section as it rises, to become, perhaps, a basket handle like those in Hauptmann 1969, pl.A.1. 47 is the junction of three round sectioned struts or handles. The upper (or lower) surface is scarred where some appendage has broken away. It might be related to the curious Matt Painted 39:10, or to the roughly contemporary Arapi handles in Hauptmann 1969, fig. 23:1,2.

The shapes, where diagnostic (32:9; 35:20.21), are Late. The patterns tell little, except for 35:21, where the fine rim lines match those typical of the Polychrome and contemporary Matt Paint. This fine ware is not found in Forum West, as far as I know, and serves as a further link between Grey Ware and the Late Phase. The glossy black paint of 35:25 is unusual in the Peloponnese, but there are examples on Matt Painted Ware fabric.

Spout. 43:82. The only one known to me in Period III. It is tubular, of unknown length, being broken, and was attached to a bowl rather like 32:17. Rhyton. 61:15. I have only seen one rhyton leg in Grey with the finish typical of this ware. It was not found in the Forum West deposits, but suggests a short chronological overlap with that phase, which one would expect. Had rhyta persisted long into the phase in which Grey Ware was predominant, one would have expected more to have been found. An unstratified pale grey fragment from Aria, perhaps confirms this (Aria, 80, pls.12 and 34:108).

Incised Decoration Sharp incised decoration is less common on Grey Ware than grooving; I know of perhaps a dozen sherds in all. Most are on Shoulder Bowls and the motifs are like the grooved: 34:4,6,19. There are two like 34:12 and 16, one of the latter being on the rim of a shape like 32:26. 34:11 is found on the Hybrid bowls and 20 has a parallel in grooved decoration. Weinberg 1937, fig.27c,e; 29 d; Zervos, 375, right.

Decoration . Figs. 34:1-32; 20-26 There is relatively little decoration of any kind on Grey Ware: seven or eight sherds with plastic decoration; some ten painted, apart from the Grey on Grey; rather more with incised or grooved patterns, and more again with rippling and fluting, although some of this is so faint as hardly to quality as decoration. Certain shapes have their own exclusive forms of decoration: pedestal and shoulder bowls, and concave cups.

Grooved decoration The term as used here is restricted to shallow but well defined, rounded furrows made in the surface by a sharp or blunt tool, the effect being due as much to the compression of the surface as to the excision of the clay. This can be seen clearly in Zervos, 376 and 377, right.

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The patterns are most usually based on the zigzag or chevron (34:2,3,5,14) or arcs and curved lines (34:8-10). 34:7 is a lozenge, the only one. 34:1 is found in rippled and fluted decoration. It is used generally on Shoulder Bowls, but sometimes on other shapes. A heavy thick pedestal bowl with the same profile as 25:13, from Klenia, has 34:5 around the outside, and a pedestal wall (Weinberg 1960, fig.60 a:3). The same fig.60 a illustrates other uncommon motifs; spiraloid, concentric circles, multiple vertical zigzags. Also Weinberg 1937, fig.23 a,b; 27:2 b,d,f.; Aria, pl.26:51052.

Other Decoration This is of two kinds. In the first, the lips of pedestal and Shoulder bowls may be notched. The notches on the former may be on the upper surface of the lip (30:3; 34:28,30) or its outer edge, sometimes producing a scalloped effect (30:2; 34:29). This is never found on Black Ware proper; the two brown sherds, put into that category simply because they are not grey, have been described (25:24). Weinberg 1937, figs.23 b; 27 a-d; Zervos, 375,376.

Rippling and Fluting

The second kind of decoration is confined to the concave cups. It consists of a row of small holes pricked into but not through the inside of the rim; in one case they were made with a small sharp rectangular-tipped tool (31:28,29). Only noted on Grey Ware from Corinth.

The terms are variously used by different writers. The two are closely related kinds of decoration made with a burnishing tool, not always easy to tell apart, and often so faint as to be barely perceptible to the eye. The difference can be seen by comparing 90:12 and 91:4, both what I term burnish rippled, with 91:3 and 93:1, although Grey Ware fluting is never so pronounced as 93:1. In rippling the furrows are narrower than or equal to the space between them, and the effect sometimes is like that of a corrugated iron sheet. In fluting the channels are wider but more closely spaced, having a narrow ridge between them. Both techniques no doubt began as a chance byproduct of the methodical and meticulous thinning and smoothing of the vessel walls that characterise Grey Ware. This also explains the imperceptibility of much of it; the intention may not originally have been to produce visible decoration. But from there to a deliberate decorative working of the surface is only a short step.

Distribution of Grey Ware Grey Ware was centred on Corinth which, from the amount, variety and quality, must have been the main producer. The only other area that seems to have produced a similar quality is Argolida, particularly Aria,. Elsewhere Grey Ware is widely but not abundantly found, and the quality is different; it is more of a medium to dark grey. The following list is not exhaustive. Peloponnese Aetopetra Corinth Gonia Klenia Prosymna Aria, Argos Franchthi Lerna Asea Kouphovouno Alepotrypa Koufiero

At Corinth both techniques merge into one another. They are employed in the same way and on the same shapes, and on Grey Ware the distinction is unimportant. We make it, however, because fluting, but not rippling, is also the typical decoration on other wares, the heavy dark burnished fabric which I have put in Early Period IV, and the contemporary fine Black Ware (93:1). Rippling 32:24; 34:23; 90:12; 91:4. This is the commoner of the two, being perhaps more inherent in the finishing process used by the potter. It is very rarely found on Black Ware. The width between troughs varies from .005m down to .002m, and rippling can be found on most shapes. The direction of the ripple may be vertical or oblique, straight or, more rarely, curved (as 34:26). Sometimes the ripples are grouped into alternating sets of oblique lines (as 34:22-24). Pedestals, including the solid-shanked variety, may have oblique, curving or even spiralling burnish ripples. The inside of one pedestal bowl like 30:15, from Corinth, is covered with parallel wavy lines perpendicular to the rim.

Typical tan sherd in BSA.

Probable. Blegen does not distinguish. Common and good quality May have been common; good quality. Little Little Little Very little MacDonald 1973, 169, pl.44:11.

West Mainland Astakos is the only site known to me with Grey Ware. Benton comments that it is very like the Corinthian (Benton 1947, 179), and so it seemed to me. There are only a handful of sherds. Benton 1947, fig.11: 66-68 have close parallels in, respectively, 33:5; 32:17; 32:10 etc.; and so do the individual parts of Benton 1947, fig.11:69 in 29:10,13 and 33:14. There are also one or two pedestal bowl rims of the straight kind and a pedestal foot.

Fluting 33:2; 34:21,22,24-27; 91:3. Less common than the rippling. Some of it is very fine (34:22). Not found on the Early Phase Black Ware.

Among the Black Ware material from Astakos, Benton 1947, fig.11:71 looks more like the heavy dark burnished

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

ware of the sort shown on my 53; there is indeed a very similar profile from Klenia, not illustrated here. But her fig.11:72 is closer to Grey Ware types at Corinth, though not to any one shape in particular.

the Euboea Survey material (Sackett et al 1966) is of the common 25:12 type (cf. Weinberg 1962, fig.8:9); another, perhaps Sackett et al 1966, fig.18:16, is like a blunt 30:15. The carinated profiles on Theocharis 1959, 290, fig.11:5,6,8,9, and two rims from the Euboea Survey, one like 32:13 (cf. Weinberg 1962, fig.10:5), the other identical to 26:2, as well as a piriform jar rim like 33:12 but more everted, are all characteristically Peloponnesian, but would no doubt be as much at home in Boeotia. For more Grey Ware profiles from Varka and Ayia Kalliopi, see Sampson 1981, figs. 49-52 and 68-71, although, interestingly, there was very little in the cave of Skoteini. The Grey Ware at these sites is also later than and overlaps the Black Ware, as at Corinth (ibid, 217). A further parallel is the Grey Rhyton sherds (ibid, 87, fig.69:561). Until more detailed evidence is available, one can assume that the Psachna-Varka was open to influence from both the South and the West.

Central Greece The Corycian Cave above Delphi produced a fair amount of Grey Ware (Touchais 1981, 128), more than at any other site apart from Corinth, and the material I was kindly shown was typically Corinthian to the eye and touch. It includes shapes like 31:3; 32:22; 33:14 (cf. Touchais 1981, figs.19:212; 20:233,247; 21:263). It is hard to tell how much of the Elateia material is Grey rather than Black, or whether there is in fact no clear-cut distinction there, but since Weinberg writes that “light grey is rarer,” evidently some was present. There is one notched pedestal bowl rim (pl.61 b:3) and rare rippling (Weinberg 1962, 188, pl.61 b:1). Some of the profiles on his fig.10 and the waisted handles are similar to Corinthian shapes (discussed in more detail on p.15 f).

Thessaly Grey monochrome ware was produced only in the Tsangli phase of the Thessalian Late Neolithic, along with Black and Red monochrome wares and Matt Painted. A little of the pale Grey Monochrome is comparable to the Corinthian (Hauptmann 1969, 20, n.11); the commoner sort is coarser, with a dark grey fabric and grey-black, olive brown or tan surface, sometimes slipped. The Arapi phase is characterised by Black and Black Topped Red wares.

Attica There are five fragments of Corinthian type Grey Ware from Euripedes’ Cave on Salamis in the BSA15, including a shoulder like 33:14 and a base like 34:49, but finer. I have seen some half a dozen grey sherds from the Acropolis South Slope excavations, but they are not of the Corinthian type. The only sherd with possible affinities is a pedestal bowl rim like 25:12, but this is equally found in Boeotia. (See Mari 2002, 193-194, figs. 14-15: 19-21).

Many of the profiles and some of the forms of decoration of Corinthian Grey Ware have parallels in Thessaly, but not with any one phase alone. They can be equally matched in the monochrome wares of the Tsangli, Arapi and Larissa phases.

The material from Nea Makri is of some interest (Theocharis 1954; esp.1956). The profiles on 1956 figs. 33-36 are all characteristic of Corinthian Grey Ware, but figs.33 and 34, are described as red-brown. No example of these shapes in such a ware is known to me from the Peloponnese, although other Grey Ware shapes, notably the shoulder bowls, do occur in red (37:26-28). Theocharis 1959 pl.10 shows two shoulder bowls of typical Corinthian shape (e.g. 40:10) with fluted decoration; the latter I have not seen on this particular shape at Corinth. The bowls on Theocharis 1959, fig.11, also resemble the Corinthian, except for the disk; a convex pellet would be more usual. No Grey Ware, however, was found at the Nea Makri site excavated by M. Pantelidou Gopha (Pantelidou Gopha 1995, 153 and note555).

There are also many differences. Certain shapes are exclusive to the one or other area, while other shapes, although present, do not play an equal role in the respective repertoires of the two areas. A few examples will be given here for the Tsangli, Arapi and Larissa phases. References are to Hauptmann 1969 unless otherwise stated. It should be noted that Hauptmann’s typology sheets (Beilage 1 and 4) give the profiles for painted as well as monochrome wares, while a number of shapes are recorded as only occurring in the monochrome or the painted wares, but not both. It is clear from the Peloponnesian evidence that this is not always due to the chances of excavation, but at least in some instances (eg collar jars) reflects a deliberate preference on the part of the potters, and as such must be taken as a cultural trait or indicator. The comparisons given here are therefore with the monochrome shapes illustrated by Hauptmann and not the painted, which may or may not be the same.

Euboea There is a considerable amount of Grey Ware from Psachna-Varka and Ayia Kalliopi on Euboea, which, like some of the Black, is equally close typologically to Corinthia and Boeotia. A straight pedestal bowl rim from

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

in which Grey was the predominant monochrome ware, although some Black continued to be made as well. This subphase is confined to Corinth and possibly centres like Argos, with which there may have been close contact and where similar calcareous clays were present. Elsewhere Black continued to be the predominant monochrome ware.

Tsangli The parallels are chiefly with the carinated bowls. Compare 32:11,12,18,22,25,26 with many profiles in Hauptmann 1969, figs.1; 2; 7; Beilage 1:3,8,10,11. Hauptmann says that concave cups are popular (1969, 22) but only one is illustrated (fig.2:1). Missing and rare monochrome shapes are pedestal bowls, simple convex bowls like 31:1-10, closed convex and shoulder bowls like 31:20,21,24, S-profile bowls like 33:1,2,5,8,10,14 and collar jars. All of these shapes are characteristic at Corinth, but the decoration is quite different: the grooving and lip notches are on different shapes or used in a different way.

Weinberg believed that this phase marks the very beginning of the Late Neolithic and even overlaps the transition from the Middle Neolithic (1965, 42). If this were so, it ought to precede the phase represented at Forum West, since much of the material from Forum West is quite different from that on Temple Hill, which is the source of most of the Grey Ware. It seems to me, on the other hand, that if all the evidence is taken into account, some of which was not available when Weinberg was writing, it points to the Grey Ware phase following the Forum West phase.

Arapi (Black and Black-Topped) Here too the similarities are chiefly in the carinated bowl shapes. 32:12,13,20,27,30 are similar to carinated shapes in Figs.9-12; 16; 18; Hauptmann 1969, Beilage 4:2,6,12. In this phase there are some simple convex bowls (Beilage 4:36) like 31:6,11. The same shapes listed above under Tsangli are also missing or present in small numbers in the Arapi repertoire, except for a form of collar bowl (fig.9:9-13). The characteristic thickened shoulders, knobbed handles and pattern burnish decoration are purely Thessalian.

Summary of Evidence: Stratigraphical Grey Ware was found in quantity on Temple Hill mixed with Urfirnis and but little Black Ware (Weinberg 1937, 511). Grey was also found ‘ most abundantly ‘ west of the New Museum, in a context where none of the earlier wares was present (i.e. Early Neolithic and Urfirnis), but where Polychrome was commoner than it had been on Temple Hill (Weinberg 1939, 599). Polychrome is not frequent in the Forum West deposits, and it is of an earlier variety than most of what Weinberg found on Temple Hill (see below under Polychrome and cf. 1965, 46). At Klenia Grey Ware is common, and Black (of the early kind) virtually absent. The same may be said of Gonia, although the Grey too is not so common there. Both sites are characterised by their Polychrome. At Argos there is high quality Grey, fine Matt Painted and Polychrome related to that from Klenia and Gonia, but not Black Ware. In short, wherever there is a monochrome pottery associated with the type of Polychrome which Weinberg himself agrees is late, it is Grey Ware.

Larissa The profiles published by Milojc¬ic´ (1959, figs.18,19) and a more comprehensive series prepared by Hauptmann, and kindlee shown to me privately, include a few carinated shapes, some of which are like 32:11,17.25, which are also found in the Tsangli and Arapi phases. The S-shapes, thickened round shoulders, offset or bead rims, have many similarities with shapes in Grey, and the heavy dark burnished ware on my fig. 53. There are pedestal bowls with straight or slightly convex profiles, and rims like 30:4 and 17; and wide pedestals like 25:21 or solid shanked pedestals with flaring feet like 30:24,25. There are convex open bowls, like 31:1,2,6, with slightly swollen rim, and like 51:5,12 (cf. Hauptmann 1969, fig.15:7,9). Shapes like 31:20 have parallels with Milojc¬ic´ 1959, fig.19:3; like 33:6,10,14 with his, fig.18,1,9,11; like 33:20,22,23,26. with his fig.18:10. Collar jars are wide, like 33:21. No piriform jars are illustrated. Other traits include fine pellet or beaded decoration in a single horizontal row, rippling and fluting (Hauptmann 1969, fig.15:6; Biesantz 1959, figs.10a.b; 11c; 12,b; 13).

The Forum West excavations produced relatively little Grey Ware, but Black was common. The Grey ware increases in quantity in the upper levels, according to the excavator, Dr. Lavezzi (personal information). There is a fair quantity of Urfirnis present, some of which at least should be stratigraphically associated with the rest, and a quantity of red slipped ware which is so close technically to the Urfirnis that it must be a development from it.

Grey Ware: Chronology and Origins Other wares present, Black-on-Red, Grey on Grey (Lavezzi 1978, 428) and numerous rhyton fragments link this deposit with the Elateia Bothros, which cannot be late, since no matt painted or polychrome sherds were found in it.

Grey Ware may have been made throughout Period III, since the local clays under certain conditions readily fire to a pale grey, but it appears from the stratigraphical and typological evidence that there was a subphase at Corinth

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Thus the evidence from the deposits at Corinth and elsewhere strongly suggest that the Forum West material is earlier than the phase with predominant Grey Ware. This implies that there was a gap in the occupation on Temple Hill, where the Forum West phase is missing. This seems to me the most reasonable explanation. Every excavator is familiar with stratigraphically undetectable hiatuses in occupation, and the stratigraphy on Temple Hill was not, by the excavator’s own account, very reliable.

Grey on Grey. Fig. 35:27 Eight sherds turned up in the Forum West excavations (Lavezzi 1978, 428; for the context, Lavezzi 1973, 90, fig. 49), which very much resemble the northern Grey on Grey class. They are not all identical in ware, some being a very pale Grey and quite Corinthian looking, and others having a bluish tinge unlike the local grey. They are all very fine; 35:27 (upper) is only 1.5mm thick. Nevertheless they would all pass without comment but for the decoration, which itself is inconspicuous enough. The only feature sherds were the rim and base on 35:27, and a fine concave wall fragment, as from a concave cup or carinated shape. The decoration was made up of thin dark lines, single or in groups; they are less than .6mm wide, thinner than any painted line I have seen, and in this respect more like a burnish stroke. However it was made, the decoration is characteristic of the finest Thessalian. One sherd, not shown here, has part of a multiple band (like 43:23, but in miniature). The patterns and ware correspond to the Thessalian, although I have not seen any from there quite as fine, and the paint on them is often crusty. These do not look local, and since two such sherds were found at Elateia in the Bothros, it is possible these are all imports from further north. (Weinberg 1962, 188, pl.62 a:6,7). If so they should, like the Tsangli Rhyton legs, provide a chronological link between Thessaly and Southern Greece.

Chronology If the bulk of the Grey Ware postdates Forum West, most of which falls in the Early Phase of Period III, then it may be used, at Corinth, as a marker to define the beginning of the Late Phase. Grey Ware seems to end somewhere just before the end of the Late Phase, although certain shapes may persist into Period IV. There is little Grey Ware at Gonia, and what little there is does not include the typical carinated shapes found on Temple Hill and at Klenia. Further, in the Prosymna deposit containing Polychrome of the Gonia type there appears to be no Grey Ware at all, so the Prosymna deposit may be taken to represent a short period of time, during which Grey Ware had nearly died out, if not entirely. Origins There seems no reason to look outside Greece for the origins of Black or Grey Ware. The technique of firing in a reducing atmosphere would hardly present problems to the potters of Period II since black Urfirnis is no great rarity. The reasons why Grey Ware became such a vogue at Corinth will not be guessed at here, but one was undoubtedly the nature of the clay. Weinberg has suggested Anatolian origins for the Black Ware (1965,42). The principal known source of black, as well as brown and red, wares at this time in Anatolia is the Late Chalcolithic of Beycesultan. Carinated shapes do not begin before Beycesultan 3, which is generally thought to begin around 4000 BC, and are the hallmark of Beycesultan 4 (Mellaart 1962,6), whereas Black Ware reached a peak at Franchthi over 500 years earlier (Jacobsen 1973,268). Also the shapes of Beycesultan 1 and 2 have only the vaguest Peloponnesian parallels, while the characteristic Peloponnesian shapes have no early counterpart at Beycesultan. French publishes a sherd from Ilicapinar, near the Sea of Marmora, which is quite like a Peloponnesian Shoulder Bowl of Black, Grey or Hybrid ware, even to the decoration, but not in fabric. It appears to be atypical and updateable in that part of the world (French 1967, 58, fig.11:40).

Hauptmann examined the evidence for its dating (1969, 44.47) and concluded with Wace and Thompson that it falls early in the Late Neolithic, or at the end of the Middle. There is quite a lot of it at Servia from the old and the recent excavations. Heurtley was of the opinion that at Servia the ware derived from the accidental reduction of Middle Neolithic vessels. Milojc¬ic´ for a time believed it to be very late, having found sherds of it mixed in some Larissa phase pits. Certainly, if it is not very late, which seems hardly possible for typological reasons, then it must be very early. No pieces have been found stratified in Tsangli levels, and it seems probable that it belongs to that transition phase in Thessaly, not yet found stratified, preceding the Tsangli, in which monochrome and Matt Painted pottery developed, and the more extreme Tsangli carinated shapes. This accords roughly with the dating of this ware in Central Greece (Elateia) and at Corinth. It would place the Forum West phase slightly earlier than the Tsangli and would allow the latter to overlap with my Period III Late Phase, characterised by Grey Ware. A close chronological relationship cannot be pushed, however: a general correspondence is all that need be sought. This is further discussed in the section on Chronology.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

various other motifs, only recorded once or twice: the spiral on Weinberg 1962, pl.65 a:4 and the dotted spiraloid motif on LWK, fig.6.

Rhyta16. 61:13 - 19; 102:3. These curious vessels are of considerable interest and deserve a study on their own. Here I shall confine myself to examining their chronological significance for sites and sequences in Greece. The name, rhyton, first given them by Yugoslav archaeologists, will be retained here for its brevity and familiarity of usage, without any functional implication.

Their purpose can only be guessed at. An obviously functional feature on them is the handle. This is larger and more massive than those on other shapes, and there must have been a particular reason for it. For a possible lid fragment, see comment on 28:10. Whatever their purpose, their present role has great cultural and chronological significance for the archaeologist. They are the first pots in Southern Greece on which white or red crusted paint was used. Neither the technique nor the patterns, with one or two exceptions, can be found on the Black, Grey or Matt Painted wares that are stratigraphically associated with them. The exceptions are a few sherds illustrated by Weinberg from Elateia (1962, pl.62 d), and perhaps the small group of Scratch-Crusted sherds found in the Peloponnese (47: 2128) and described above (p. 75), which are, however, quite different. The rhyta remain unique and alien in Greece. The Grey and Matt Painted examples, in showing how local techniques were adapted to producing these vessels, only emphasise their typological isolation. The presence of major rhyta centres as far apart as Corinth and Danilo-Kakanj points to long-distance cultural links in this relatively early period. The existence of another large rhyta centre at Cakran in Albania, on the route between these two areas, is a further indication.

These heavy incised legs were originally thought to come from tripod vessels or altars (LWK, fig.5). However, Weinberg was able to reconstruct most of the lower half of one with fragments from the Elateia Bothros, and this was identified by Milojc¬ic´ as belonging to the DaniloKakanj groups of vessels (Weinberg 1962, 190 for full account). The basic characteristics of the vessel are the four legs supporting a squat asymmetrical body with a wide oval or subrectangular mouth set in a nearly vertical plane, the whole surmounted by a stout basket handle springing vertically from the highest part of the rim. The legs, and sometimes parts of the body, are covered with grooved or incised and white-filled decoration, while the deep grooves outlining the leg-body junction, as well as other parts of the body, are red crusted. The inside is also generally red crusted, either directly on the dark surface or over a thin white slip (Weinberg 1962, 190, 192). The Forum West excavations by Lavezzi produced over 150 examples and more have been found at other sites since this was written (for a recent comprehensive list: Aria, 82-84). There are differences in shape between the Greek and the Yugoslav rhyta, and between the Greek vessels. The shape, size and proportions of the legs are very variable. There are wide, squat, peg-footed legs, popular at Elateia, but not at Corinth (Weinberg 1962, pl.63; 64 c:1,2; 65 a:1,5,6,7) and the longer narrow type of pl.65 a: 2,4; 64b:1-4. Examples are shown on 61; 18 and 19 (102,3) are from Alepotrypa and more like the Elateia legs, while 13 is of the second kind.

Chronology At Corinth they are characteristic of the Forum West phase, to which well over a hundred and fifty can be attributed, which means that they must have begun somewhat earlier. None were found at Gonia or, as far as I know, in contexts at Corinth that one might suppose contemporary or later. It is thus probable that they did not persist long into the Late Phase of Period III. At Franchthi they appear to belong to the end of the Black-Burnished phase there, at a time when Matt Paint was reaching its peak (Jacobsen 1973a, 269, fig.6; Franchthi 2, 62); this accords well with the Forum West phase at Corinth. At Elateia they came mainly from the Bothros, the chronology of which has been discussed in detail on p.18; the conclusion there was that it may have antedated the Forum West phase but probably overlapped it. Three legs from Tsangli were in level V, associated with the White on Black and Matt Painted wares which characterise the Tsangli phase in Thessaly (Wace & Thompson, 99, fig.50), implying that there was at least some chronological overlap with Forum West. Further afield they bring the one-period culture of Cakran, in Albania, where many rhyton fragments were found, into chronological harmony with the Early Phase of Period III

The fabric is generally black or grey, and BlackBurnshed, although some have tan and buff patches like the ordinary Black Ware at this time. There is also a leg in typical Grey fabric and finish (61:15), not from Forum West, and a Matt Painted leg. Nearly all are decorated by fine incision. Out of sixty fragments, including the published legs from Central Greece, twelve use the notched line motif of 61:13 and 15; nineteen are decorated with hatched or crosshatched bands like 17 and 18; six with hatched or crosshatched triangles in rows or on a string; five with hatched chequerboard rectangles or lozenges; and there are

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

in the Peloponnese and the roughly contemporary Tsangli phase of Thessaly. The Cakran pottery includes a ware decorated in a similar manner to the rhyta, which in this respect would appear to be more at home there than at Corinth (Korkuti 1972, 12). The distribution suggests a coastal diffusion along the Adriatic. They are found from Albania to Trieste; and the sea route from Albania to Corinth is short and easy. The Thessalian legs, few in number, may have come down via Ochrid and the Haliakmon valley. Allegedly Dimini sherds have been found in Albania, and Cakran is the only other site known to me, at which a particular kind of Late Neolithic decorated bowl, peculiar to Servia, has been found (personal information from Cressida Ridley; see Ridley & Wardle 1979, 216).

III. There is an early and a late class of Matt Painted, which can be distinguished to some extent by shape and style, and which correspond in a general way with the Early and Late Phases. There is little stratigraphic evidence from closed deposits, so that the criteria for distinguishing the earlier and later styles is largely typological and some of it is very tentative. The early class includes the material from Forum West; the late class is defined partly by types absent from Forum West but present in other deposits, where the Forum West phase is missing; partly by the closeness of shapes to Grey Ware shapes; and partly by similarities of style and technique to the late Polychrome wares of the Gonia-Klenia kind. The fabric can be divided into three grades: thin, hard and gritless; less fine and more, or less, gritty; and coarse, with large white, brown or black inclusions as well as what, under the hand glass, looks like grog (cf. the B I fabric in the Corycian Cave: Courtois 1981, 176;). The use of this last is new, and characterises a number of Period III and IV wares (cf. the Matt painted and coarse ware from the Cave of Euripedes: Mari 2002, 61). The Matt Painted fabric may be hard and clinky, like the best Urfirnis, or soft and friable. The colour ranges from brick red to ivory white, and sometimes there is a dark core. The surface colour often differs from that of the body due to firing, burnishing or slipping. The latter appears to be relatively uncommon, although where fabric and surface are very light, it is sometimes hard to tell by eye. Perhaps for this reason white or cream slips, being conspicuous, are most frequently recorded on red fabrics.

Distribution of rhyta (not exhaustive) Legs or other fragments have been found in: Albania Cakran: 51 fragments reported (Korkuti 1972, 13, fig.11) DunaveH: 2 fragments (as previous). Thessaly Otzaki: One reported by Milojc¬ic´ (A.A. 1954,21,fig.11); Hauptmann 1981, fig. 80:14). Tsangli: 3 legs (Wace & Thompson 1908. 99, fig.50; Hauptmann 1981, fig. 92:5). Central Greece Chaironea: Several (Soteriades 1905; 1908, fig. 7). Elateia: 17 plus other fragments are recorded by Weinberg (1962, 190-195; pls.63- 65).

The table below is only intended to give some idea of the proportions of the three main colour groups of sherds noted from five sites. It is neither comprehensive nor complete, but may be taken as a random sample in which certain tendencies can be perceived that have significance for the chronological and geographical separation of types.

Euboea Skoteini Cave: I leg (Sampson 1993, 91, fig. 56:4). Peloponnese Corinth: Over 150 legs were inventoried. Aria,: 6 sherds (Aria, 83, nos. 108, 110-112, pls. 12, 34). Franchthi: 8 fragments (Jacobsen 1973a, 269, fig.6). Alepotrypa: At least 2 (61: 18,19; 102:3). Kouphovouno: 2 (Renard 1989, fig. XXXIII: 3, 5. Rakhes-Phourno Probable worn leg in BSA.

Matt Painted Ware. Figs. 37-43

The Red group includes pale brick, orange and pinkish buff sherds (81:7,9), some of which differ little from the Buff group. At Klenia there are in fact more sherds of the Buff and Cream groups than I noted, so the proportion of red at that site is rather inflated. At Gonia on the other hand the red proportion is rather low, because most of the red painted decoration, not enumerated in the table, is on a red ground (like 81:4,6).

Introduction The generic term Matt Painted covers a variable range of fabrics and colours (cf. fig.81) but they have one feature in common: the paint is matt. The occasional sherds with lustrous paint that catch the eye are discussed below. Matt Painted ware in the Peloponnese (the Brown on Buff of Walker-Kosmopoulos) is all believed to fall within Period

The Buff group comprises the pale and medium or honey coloured sherds (as 82,6,7,8), some of them very fine and highly burnished, which seems to be a late feature. The proportions of pale to medium buff vary from site to site, according to the local clays, no doubt. At Corinth the light outnumber the darker tones, while at Alepotrypa a medium tone is commonest.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

The Cream group covers the pale yellow, cream, greenish and ivory range of colours and is the largest at all sites in the Peloponnese (81:10 - 21). In many cases the fabric is the same colour as the surface, although some have pink or buff cores. At Corinth the greenish tone is very characteristic (81: 10 -12), due to the high limestone content of the clay (Farnsworth 1963, 390). This group includes the small number of white-slipped sherds (81:5,8,18). At Alepotrypa, where there is little of the cream fabric, the white slip is conspicuous and common on collar jars; it is often thin and uneven (82:2,3,4,9). Rarely, a thick dark or mauvish slip is applied all over the outside or inside of a vessel.

it characterises the Arapi painted wares. Matt Painted: Surface Colours* Total Reds Buffs Creams Wh. Slip % % % % Corinth general 216 6 39 54 4 Forum West 37 11 36 54 7 Gonia 83 6 38 55 5 Klenia 59 21 30 49 10 Argos 19 5 32 62 5 Alepotrypa** 26 11 25 60 50 * Cf. Aria, 97, Table V. ** Based on the material in the Sparti Museum before the excavations by Papathanasopoulos.

The paint can be divided into a dark and a red group. The colours of the dark group are black, chocolate brown and a faded, dusty-looking mauve, and the paint may be thick and crusty or thin, smooth and watery. The different shades are partly due to the thickness of the paint, the colour of the ground and the firing conditions, but also, perhaps, sometimes to a different composition. The mauvish paint is generally thin and sometimes has a brown tone; it is probably similar to the vermilion paint of the red group, because on a sherd from Gonia the same paint is a deep vermilion outside and faded mauve inside.

Matt Painted Shapes Shallow and Pedestal Bowls Open Bowl Shallow Convex 3. 37:5,6,7,9,18; 38:6,7. 9 ex. Most of these very shallow shapes are probably from pedestal bowls, but 38:6,7 may be from simple saucers. Tapered, rounded, square and bead lips are all normal Matt Painted features. The shape is hardly known in period III Grey or Black Wares, but is typical of Blackon-Red and the later monochrome. Strikingly similar shapes and lips are found at Aria, (Aria, pls. 36, 37). Corinth (Weinberg 1937, fig.32 c); Gonia; Argos; Asea; Aria. Early; Late 37:6: cf. Elateia (Weinberg 1962, 197, pl.67 c: 2) 38:6: cf. nearly identical profile from Amouri II, with black paint on a red body (BSA.)

The red group includes the red brown (81:5), orange red (83:25,28), cherry red and vermilion (81:4,22). These are the same colours as those used on the Polychrome ware; without analysis one cannot tell how much of the variation is due to chemical and how much to physical factors. The red and vermilion paints are uncommon at Corinth; at Gonia, where they nearly equal the dark paint in frequency, the red often has a brownish tinge which is never found at Klenia. Shapes and decoration make it probable that they are contemporary with the Polychrome and Red Stroke-Burnished wares; some sherds indeed may well be from Polychrome pots. Five vermilion on pale buff sherds were noted at Lerna in J Mixed Fill, along with two Black sherds.

O.B.S. Convex 2. 37:14,17. 5 ex. These may or may not have pedestal feet. The shape has more parallels in Polychrome and Grey Wares than Black. Corinth; Gonia; Franchthi (Jacobsen 1969, fig.7:6; 1973a, fig.7:12). Late 37:17: similar from Euripedes Cave, Salamis, and Leondari Cave, Hymettos (BSA.).

The surface of the vessel may be burnished, smooth or matt, and a wet or slurry finish (self slip) is usual on the coarser sherds. A high burnish is common on the fine matt painted vessels, which are taken to be late.

O.B.S. Straight 3. 37:3,11,12,15. 9 ex. The lip is generally rounded, but there is one bevelled and one slightly beaded lip, which is like the Polychrome 44:6, with which it is no doubt contemporary, and the Black pedestal bowl 25:12, as well as Black-on-Red examples. There is a huge coarse rim with matt vermilion paint from Gonia, which should be Late. Corinth; Gonia; Franchthi; Aria. Early; Late

Occasionally the dark or red paint has a low natural lustre, and in one or two instances the whole surface has been burnished after painting. The lustrous paint stands out immediately from the rest: the red for its Polychrome associations, and the black for its alien appearance. The red or vermilion paint on the Polychrome sherds is almost invariably lustrous , but on the one-colour sherds it may be matt. A slightly lustrous dark paint, exceptional in the Peloponnese, is common, even usual, in other regions: Akarnania, Attica, Euboea and of course Thessaly, where

O.B.S. Straight 2 37:8. 7 ex. Very close to the previous. Rounded or tapered rims. The shape has more parallels in the Black than Grey Ware. One had some sort of handle. Corinth; Gonia; Argos; Aria,; Salamis (Euripedes Cave: BSA). Early; Late

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

O.B.S. Concave 3 or 4, 37:1,2,4,13. 7 ex. The shape is well matched in Grey Ware, less so in Black. 37:13 is a unique, small, footed cup. I know of none from Forum West, and because of the Grey parallels, these may be taken as Late. Corinth; Franchthi (Jacobsen 1973a, fig.7:14,15; pl.51,a); Aria, pl.36:121. Late 37:2; cf. Psachna-Varka (Euboea, fig.18:10).

38:25; cf. Psachna-Varka (Theocharis 1959, fig.6:3), and one from Leondari Cave, Hymettos (BSA).

O.B.S. Convex 1. 38: 1,5,12,13,20,22. 16 ex. One of the commonest shapes if lumped together with the closely related Convex O. The lip is generally rounded, and they may have perforated lugs or waisted strap handles below the rim. They probably had rounded or flat bases. There are parallels in the Grey, Polychrome and later wares. Corinth; Gonia; Klenia; Argos; Aria. ?Early; Late 38:1: Leondari Cave, Hymettos (BSA). 38:5; Amouri II, in local Black-on-Red (BSA).

O.B.M. Straight 1 38:32; 86:1. Common The restored profile from Forum West gives the shape to which many hitherto unidentified fragments open, more or less straight sided bowls must belong. There may be some variation in their proportions, but there do not seem to be any cups in Matt Painted ware like the Grey 31:22. A quantity turned up in the Forum West excavations, but I have not noticed many fragments from other sites from similar vessels, although the Black-on-Red 36: 5,13 and the Polychrome 44:13, both from Gonia, could be, like Aria, pl. 44:168. Corinth; Gonia; Aria. Early; ? Late

O.B.M. Straight O. 38:28,30,31, 7 ex. Probably a deep, straight-sided bowl; may have a tapered lip. Polychrome parallels. Not a diagnostic shape. 38:31 is from Forum West, but there are four from Gonia. Corinth; Gonia; Aria. Early; Late

O.B.S. Convex O. 38:3,9,10,26,29. 13 ex. Rounded, tapered, square, grooved and thickened rims. They grade into the previous group. Corinth; Gonia; Klenia; Argos; Aria. Early; Late 38:10; Amouri II (BSA).

O.B.M. Concavo-Convex 38:27. 2 ex. A shape hard to identify from small rim sherds. 38:27, with apparently a foot or pedestal, is from Forum West and early. Corinth; Klenia; Early A similar shape is illustrated from Nea Makri (Theocharis 1959, fig.40).

O.B.S. Convex 1, Shoulder 38:2 A dish-like variation of the previous. Only one known, from Gonia. Early or Late

Large Coarse Bowls 85:12; 83:27,28. At Gonia and Klenia many fragments were noted from large coarse open bowls of uncertain shape, roughly painted inside and out with broad lines forming some kind of elongated zigzags or chevrons. 85:12, from Forum West, gives some impression of the ware.

O.B.S. Expanded Rim 38:8,11,14,15,16,18,19. 16 ex. This type of rim is very characteristic of Matt Painted ware. The lip may be slightly rounded, like 38:8, or sharply profiled, and with a groove and lug. The flat lip is often painted. There is one in Black-on-Red and something similar in Grey Ware (31:10). A rounded example is published from Franchthi and there is one from Argos; otherwise the type seems to be confined to Corinth, where it is common, and Klenia. 38:8 is from Forum West, but typologically the more exaggerated rims look like a late development. Corinth; Klenia; Franchthi; Argos. Mainly Late 38:11: identical from Orchomenos (Kunze, 1931, fig.37; pl. XXI,2c)

Closed Bowls C.B.S. 39:1,4,6,17,20. A common shape with a variety of rim types. The side forms a more or less even curve, although there is a hint of a shoulder in some. The lip is commonly rounded (39:6) and may be grooved (39:17); on clearly later examples the lip is tapered (39:1). There are no lugs or handles, but an occasional plastic welt serves as decoration or mark. They have their counterparts in the Black and Grey Wares and are characteristic of the late Polychrome ware at Gonia and Klenia. 39:6 may represent a local Franchthi type. I have seen two identical profiles from there, but none from Corinth. There is at least one like 39:20 from Forum West, but the Polychrome parallels suggest that they may be commoner in the Late Phase. Most of the Corinth examples are from Temple Hill. Corinth; Gonia; Klenia; Franchthi (Jacobsen 1973a, fig.7:17,18); Tiryns (Muller 1938, fig.1:4); Aria. Early; Late

O.B.M. Convex 1. 38:21,23. 7 ex. This shape, with tapered lip and nearly straight upper wall, is typical of the late, III - IV Stroke-Burnished and Crusted Ware bowls. Gonia; Klenia. Late OB.M. Convex O. 38:24,25. 4 ex. The deeper form is less common in Matt Painted than in Polychrome and later wares, and merges into the closed bowl. Nor is it common in Grey or Black Wares. Corinth; Gonia; Klenia; Argos. Early or Late

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

C.B.M. Shoulder 39:12,15. 2 ex. A variation of the previous, with a slight hardening of the curve. Both are Polychrome and Grey shapes. Gonia; Klenia. Late

straight lower wall. 39:2 from Asea is unique. The closest parallels are in Grey Ware. There are none from Forum West. Corinth. Asea. Late 39:9: an identical profile from the Agora in Athens, where this ware is very rare, with the same inside decoration as 39:16, could easily be Corinthian (Agora P 23503, unpublished).

C.B.D. Convex 39:22; 86:2. 2 ex. Deeper plain forms seem less common. 39:22 is the only certain example I know, and is from Forum West. The arrangement of the lugs is unique. The shape is like the Polychrome 44:7. Corinth; cf. Aria, pl. 44: 167. Early or Late

Shoulder Bowl V (Duckshead rim) 39:8,10,11. 5 ex. A short thick shoulder with more or less elongated thin rim, over a convex lower wall. A typical Grey shape and therefore to be considered Late; the less profiled shape of 39:11 is from Forum West and earlier. 38:10 seems to have had a strange high forked handle; it was either some sort of ladle or possibly from a rhyton with uncanonical handle.

Shoulder Bowls These form a large variable class of shallow and medium closed bowls, distinguished by a sharp curve and thickening or angularity of the shoulder. They include what Weinberg calls the inturned rim bowls. Their distinctive profiles make them useful indicators of chronological relationships with other wares and regions. They are not all contemporary, to judge by their parallels in other wares, but probably all fall within the Early Phase and first half of the Late Phase. Although the different types merge into each other, they can be roughly subdivided follows:

Carinated Bowls The many kinds of carinated bowls merge into each other, but since there appears to be a chronological distinction between some of the types, it may be worth differentiating between the group with sharp carinations and straight lower walls, and that with soft carinations and convex lower walls.

Shoulder Bowl I 39:14,16. 6 ex. A simple convex bowl with thickened shoulder and bead lip. Some have a round or oval pellet on the shoulder. The shape is a Black rather than a Grey Ware one (e.g. 27:4,6). They are found at Forum West , and in the mixed Prosymna deposit which contains no Polychrome and therefore cannot be very late. There are none from Gonia. Corinth; Prosymna (Blegen 1937, fig.623,15); Aria, (pl. 41:147). Early 39:14: cf. Elateia (Weinberg 1962, fig.8:2; pls.58b,5; 67c, 8-9), and there is another Matt Painted example with the same painted pellet in the Chaironea museum.

Platter 40:1. This is the only example I know of. But for the inside decoration it could be taken for a lid, like 41:23; indeed, with its curious overall mauve wash on the outside, it might even be one. Soft Carinated Shapes with Convex Lower Wall Dish 40:3. 1 ex. This shallow dish has a convex bottom and is identical to a Black Ware bowl from Forum West (cf. 26:4). There are also Grey parallels. Corinth. Early; Late

Shoulder Bowl II 39:19. 3 ex. A more closed form, with heavier shoulder and more profiled rim than the previous. Frequent in Black, but also found in Grey. Only found at Corinth. There are none from Forum West, and on typological grounds, as well as for its Grey Ware analogies, it should be later than the previous. Corinth, Aria, pl. 51:151,153. Late Shoulder Bowl III (Elbow shoulder) 39:21.23 This is a pure Grey Ware shape. Corinth.

O.B.S. Convex/Straight 0 40:4,5; 86:4,6. 2 ex. These have a rounded carination and straight or slightly convex upper wall. 40:4 is from Forum West and has the everted lip noted on the similar Black profiles from that deposit (26:11). The decoration of 40:5 from Temple Hill is late-looking. Corinth. Early; Late

3 ex.

O.B.S. Concave 0 40: 6,7. 2 ex. Similar to the previous, but with a concave upper wall. The waisted strap handle of 6, as well as its fine decoration, is Late, and the shape has Grey parallels. There are also some in Black from Forum West. Corinth. Early; Late 40:7: cf. Elateia (Weinberg 1962, pl.67 c: 3-5).

Late

Shoulder Bowl IV (Hook rim) 39:2,7,9. 5 ex. Distinguished from the simple convex shape of 39:4 by a more sharply curved and often thickened shoulder and a

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C.B.M. Concave 40:10,14. 4 ex. Deeper and more closed, with a more pronounced concave side. Three of the four have strap handles and the shape is common in Grey, not Black Ware. Late

fig.7: 21). 40:16: XXVI, 3).

cf. Orchomenos (Kunze 1931, pl. Late

C.B.D. Concave Carinated 40:15,23. 4 ex. These are fragments of deeper carinated bowls but no complete profiles are preserved. Shoulders like 40:23 are not uncommon in Grey Ware (cf. 32:30) and for this reason as well as the decoration should be late. Corinth; Franchthi; Aria. Late

Medium and Deep Baggy Bowls 40:17,20,22. 6 ex. This appears to be a characteristic Franchthi shape, with handles and comb-tooth decoration. There are many in all sizes at that site. The rim is sharply offset from the convex body. 40:22 from Klenia is slightly different. The handles should be late, but there is little else to date them, and the stratigraphic difference between my Early and Late Phases is perhaps not very clear at Franchthi. Klenia. Franchthi (Jacobsen 1969, fig.7,1,2; pl.98a; 1973a, fig.7:1,8-10).

Collar Bowls 41: 1,2,4,5,6,9. 12 ex. A low wide bowl with compressed globular body and vertical or inturned collar. This shoulder may be thickened, and have a groove at the neck (41:9). Similar shapes are found in Black, Grey and Polychrome wares; none were noticed in the Forum West deposits. Corinth (Weinberg 1937, fig.32 e is like 41:4); Gonia; Klenia. Late

C.B.S. Straight 40:2. 2 ex. Small bowls, close to 40:4,11, found also in Black. Corinth. Early

C.B.Concave-Convex. 39:13; 41:15. 4 ex. A generalised form merging into the Piriform Jar. The long tubular lug of 39:13 is exceptional in Matt Painted. Corinth; Argos; Franchthi (Jacobsen 1969, ig.7:3).Early/Late 41:15: cf. Euboea fig.18:12; cf. Aria, pl. 43:166.

C.B.Convex 40: 18,19. 7 ex. Similar to the previous but deeper, and with Polychrome parallels. Corinth; Gonia; Argos. Late Carinated Hook Rim Bowls. 38:16; 39:3,5. 7 ex. These are close to the Expanded Rim bowls of 38:14,19. The flat lips are painted and may be grooved. There are similar shapes in Grey Ware, and Weinberg 1937, fig.14b is identical. Corinth; Klenia; Franchthi (Jacobsen 1973a, fig.7:19,20); Aria, pl. 42: 154, 155. Late

Piriform Jars 41:7,10,14,16. 15 ex. Rim sherds are not always distinguishable from the inverted collar jars, and the two types merge, but generally the thin even wall and tapered lip of the piriform jar is diagnostic. 41:14,16 are typical shoulders. The shape is especially common in Grey Ware. Corinth; Klenia; Prosymna (Blegen 1937, fig.623,13); Argos; Alepotrypa. Early; Late 41:16: cf. Agora pl.17: no.97.

Sharp Carinated Bowls

Collar Jars

O.B.S. Concave 1 40:9,13. 5 ex. This is a characteristic Grey shape, although one tiny Black bowl was noted in Forum West deposits. 40:13 is a particularly fine miniature, neatly decorated. Corinth; Klenia; Argos; Aria. Late

There is a great variety of types, and the incompleteness of the fragments makes an accurate classification impossible, but it is clear that there are wide and narrow necked, squat and deep types (cf. Lambert 1973, fig.14 and Zervos, 843). Handles from the rim, or half way down the collar, to the shoulder are usual. New features in Period III include the tendency to inturned strongly concave collars, and jars on which the neck runs smoothly and without a break into the shoulder. Alepotrypa is particularly rich in numbers and variety.

O.B.M. Straight 0 40:11,12. 3 ex. 40:11 from Forum West is close to 40:4, with the same local lip. The handle on 49:12 is a late feature and there are Grey parallels. Corinth; Klenia; Aria. Early; Late O.B.M. Concave 0. 40:8. 4 ex. All four have strap handles and should be dated after Forum West. Corinth. Late

Low Collar Jars 41:3,12,19; 81:18; 85:5. 4 ex. This group includes several different types, none of which appear to be common. 41:19 is like the small Period II pyxides. Corinth; Aria, pl. 49: 177. Early/Late

C.B.M. Straight/Concave Carinated 40:16,21. 5 ex. The closest parallels are with Polychrome (44:14) and Grey Ware (41:10,24). Corinth; Gonia; Argos; Franchthi (Jacobsen 1973a,

Medium Closed Concave Collars 41:13,17,22;81:2;89:3. 6 ex. These are all fairly wide-mouthed vessels, but otherwise differ considerably. 41:22 has a pronounced thickening of

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the shoulder and collar with very thin junction, features which by analogy with the Grey and Black Ware jars are late. Corinth; Klenia; Argos; Alepotrypa (Hauptmann 1971, fig.48b; 54a). Late

have been used as cups or scoops, or which would be awkward to handle without some attachment (38:13; 39:18). There are three types, which merge into each other: the hourglass (41:20; 81:17), the moderately waisted (41:22; 82:6) and the straight-sided (42:8,9,10; 82:7; 89:2). The first is mainly found on fine carinated bowls, the second on carinated bowls and some collar jars, and the third only on collar jars. The handles most often have a D section (41:16). On some finer vessels the section is a flat rectangle, the sides being sharply bevelled. They are almost invariably painted (43:64 - 73) and one or two are incised (42:10). Cf. the concavoconvex medium bowl from Aria, pl. 44:167.

Medium Vertical Collars 41:8; 42:1,3,4,5. 12 ex. These are all narrow-necked, except for 41:8 and a miniature from Corinth, and the collars are mainly straight and vertical. Only 42:5 has the shoulder preserved. Corinth; Gonia; Klenia; Franchthi (Jacobsen 1973a, fig.7:4,5); Alepotrypa. Early/Late High Inturned Concave Collars 22 ex. 41:18; 42:2,6,7,9,11,14,15; 81:13; 82:5-8; 89:1,2,4. High collars are the commonest, and the variability of the collars no doubt reflects a similar variability of body proportions. 42:12 from Forum West is the only one with a stratigraphic context. The others may be Early or Late or both. Corinth; Klenia; Franchthi (Jacobsen 1973a, fig.7:2,3); Alepotrypa (Hauptmann 1971, fig.45b; 47 a,b.c) Early/Late For 42:9: cf. Pan Cave, Marathon (Zervos, 843); Orchomenos (Kunze 1931, pl. XXVI, 4a). 42:13: cf. Orchomenos (Kunze 1931, pl. XXV 2).

There is little by which to date them. On collar jars they probably were used in both phases, but, since, apart from one or two odd types, they seem to be absent from the Forum West deposits, and since their closest parallels are with Grey Ware, it is probably safe to place most of them, especially the waisted types, in the Late Phase. Bases These are of three kinds: rounded, flat and very slightly concave (38:32; 85:4). Round bases seem to be rare, although they are easily missed in a quick survey, and the standard type is flat. A characteristic of the Late Phase are the sharply angled flat bases like 41:26. Painted decoration is commonly carried down and under the bases (85:4; 97:11). 41:26: cf. Psachna-Varka (Euboea fig.18:39).

High Vertical Collars 40:23; 41:12; 42:8,10,13; 89:6.1 5 ex. The collars are all slightly concave. One from Corinth could be a pitcher, but too little is preserved to be sure. The type is common in Period III wares but not in those of Period IV. It may therefore be earlier than some of the inturned concave collar jars, since these are found in Period IV as well. Corinth; Gonia; Alepotrypa (Hauptmann 1971, fig.48 a). cf. Elateia (Weinberg 1962, pl.167 a); Agora, Athens (Agora pls.7; 69: no.97) Kitsos Cave (Lambert 1973, fig.14)

Pedestals 37:16,19-30; 88:3. A marked difference between Periods II and III is the total absence of ring feet in the latter, at least on the finer wares. Pedestals are common and variable in proportion, although the rarity of preserved examples makes a classification difficult. There are narrow-necked pedestals with flaring feet (37:20,23,28; cf. Weinberg 1937, fig.31b:5), and there is a larger one from Forum West with the same profile as the Grey 30:23. Some were massive like the Grey 30:22 (37:21) but none appear to have had solid shanks. Somewhat wider, more open types, are perhaps a little commoner, like 37:24.27 (cf. Weinberg 1937, fig.31). There are a few wide pedestals like 37:19; 88:3, and heavy squat ones like 37:26.

Lugs Plain lugs are very rare; only two or three were noted, on carinations, and triangular in plan. 38:24 is unique. Very few perforated lugs were seen (38:22). Of the three or four from Klenia one, on the rim, has an exact parallel in Grey Ware from the same site (38:18). Lugs on the rims of deep bowls or piriform jars occur in the Forum West deposit (39:22; 85:15; 86:2). The long tubular lug of 39:13 is unique. Tubular lugs otherwise appear on Grey, Polychrome and Period IV wares. Handles

They are generally painted, and a few have cut out decoration: two with triangles (37:22; Weinberg 1937, fig.31 a), and one with a round or oval perforation like the Stroke-Burnished 48:28. Two more from Gonia have some sort of rectangular openings. One is from Tiryns (Müller 1938: fig.3). Aria, pl. 38:134; 39: 135, 137.

Strap Handles are common on small carinated bowls, which no doubt served as cups, and on piriform and collar jars; they also occur sometimes on other shapes that might

Pedestals are plentiful among the Forum West material and occur in the other contemporary wares. Early; Late

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Cut-out Pedestals, if not common, have a wide distribution: Athens (Levi 1930-31, fig.41 b; pl. XXVIII X - not very clear in the illustration); Kitsos Cave (Lambert 1971, fig.28); Nea Makri (Theocharis 1952, pl.14:2); Elateia (Weinberg 1962, pl.67 b); Amouri II (French 1972, fig.20:35); Orchomenos (Polychrome: Kunze 1931, pl. II 3), and one or two from Astakos (unpub.).

assigned with some assurance by reason of their occurrence in the Forum West deposits, or their closeness to Polychrome patterns of the Gonia-Klenia kind. Many of the patterns, however, can only be classified with a greater or lesser degree of probability on grounds of style, the shapes on which they occur, and to some extent, provenance. As a general principal it may be taken that the careless, free style exemplified by 38:8; 39:4a; 40:4, and that the thin-lined, more delicate metopic style of 40:12,13,14,22,23 is late. The precision and fineness of line is sometimes remarkable; at Gonia lines 1 mm. thick are not uncommon. This is not an infallible criterion, since coarse decoration may be early or late, and some of the Forum West decoration is also executed with neatness and precision, but it is a useful guide.

Miscellaneous Lids 41:23. The thinness of the top, the outside decoration and rough inside finish, make its identification as a lid fairly certain. Spoons. 41:24. These appear to be rare; this is the only example noted. There is a similar fragment in Polychrome.

Unlike Urfirnis ware, Matt Painted pots were usually decorated overall. Rectilinear patterns are still the commonest, but there are many more curvilinear ones, mainly arcs and semi-circles. For descriptive purposes the decoration will be divided into four groups: Rim Bands, Rim Pendants, Running and Static Patterns.

Dippers 41:21; 86:5. There are several of these elbow handles in the Forum West deposits, and one has part of the wall attached. Not known from elsewhere. Twin Bowl 41:27 This curious vessel is unique for the Period. Double and triple bowls are a part of the Cycladic and Middle Helladic repertoire, but the ware and decoration of this one are unquestionably Matt Painted. The Handle, central wall and part of each bowl are preserved. Other odd pieces include a slender tubular spout, handle or leg from Forum West (Lavezzi 1978, 429, 446, pl.110, no. 55: C 70-220. Lavezzi thinks it may be a Thessalian A3‚ import), and the corner of a rectangular “table” or “altar,” like the legged receptacles of Knossos (Evans 1964, fig.31: 3,4,5).

Rim Bands 43:1-5. These are a typical Matt Painted feature. Virtually every rim and many bases and pedestal feet have some sort of band. The commonest is a simple medium wide line; most of the Forum West rims have one, and it is an early trait. A medium line with one to three thin lines is commonest in the Late Phase (38:2,6; 39:1; 40:6,13). Two or three thin lines alone (38:6) are rare at Corinth, but common at Klenia, Gonia and Argos, and so may be a geographical as well as chronological feature, like similar Polychrome rim bands, with which they must be contemporary. Rim lines with a serrated edge (37:5; 39:1; 43:1) are frequent at Klenia, with short teeth (40:15; 43:2; 85:6) at Corinth, and with comb teeth (40:17) at Franchthi, but are not exclusive to these sites (37:5 is Weinberg, 1937, fig.32 c, and there is one from Forum West). Aria, pl. 51:151 is a distinctive variation, as are the long pendant triangles of pls. 41:147,150; 42:155, which, being on the outside wall, would seem to be a local feature. 43:1: Weinberg 1937, fig.32 c; Walker-Kosmopoulos 1951, pl. I f. 43:2: Walker-Kosmopoulos 1951, pl. I g. 40:17: Jacobsen 1969, pl.98 a.

Decoration Incision This is generallyconfined to the use of a single line beneath the rim of some shallow bowls (38:4) or on the flat lip of expanded rims (39:5), and two instances of oblique incisions on strap handles, both from Alepotrypa (42:10). 83:24 from Gonia is unique. Plastic This is limited to the occasional use of round or oval pellets on the belly or below the rim of rounded bowl shapes (39:6,14), like those on the corresponding and no doubt contemporary Black shapes. The pellet is emphasised by a surround of paint, a trick also practiced in Boeotia.

Rim Pendants These consist of triangles, arcs or groups of short lines. The triangles are similar to those on Urfirnis ware, ranging from tiny teeth to medium or large solids, which may be continuous or intermittent, usually inside (38:2,5,6,9,12,24; 43:9). The very characteristic two or three line pendant arcs (37:9; 39:16; 43:24; 89:2) occur on most shapes, inside or out. 52:48 from Franchthi is the

Painted Fig. 43 It is possible to detect the outline of an early and a late style, to one or other of which certain patterns can be

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same as some Archarnanian Polychrome bowls of similar shape (Benton 1947, pl.30 21: a, and especially an unpublished example from Archondaria). Less common are solid semicircles (37:10; 42:12). Short groups of vertical or oblique lines may be inside, outside or both (38:26,32; 40:22; 42:11,12; 43:10,11). All these motifs, except the large triangles, are found in Forum West and are early. The larger triangles and some of the vertical linear groups are probably early and late. 39:7: Mastrokostas 1965, pl.150. 43:9: Walker-Kosmopoulos 1951, pl. I g.

The panels between the verticals often contain free motifs: 38:32 is common at Forum West and is early. Horizontally projecting triangles are peculiar to Matt Painted decoration (37:25; 43:39), and spiral fringes (43:47,48). Complex diagonal bands like 43:37,41 are also a Polychrome feature and will be late; some are in red (43:20; 81:22). Horizontal bands like 43:33,42; 82,12 are also late. Shapes and Patterns

Running Patterns

Pedestal bowls seem to be mostly decorated with pendant arcs or chevron bands; pedestals with lines and bands, rarely with horizontal lines (37:36). Pedestal necks always have a horizontal line or two, and 37:19 (88:3) has a unique serpent motif. Jar collars have rim and neckbands and may or may not be divided up by verticals. The tall ones have single or multiple, horizontal or oblique, continuous or broken lines (41; 42). The bellies of jars and the lower part of carinated bowls have either groups of vertical lines or multiple zigzags (e.g. 82,9,13; 89:3). Flat lips are painted with dots or triangles (38:11,12,14,16; 39,3,5.), and handles are regularly painted with the usual motifs (43:64-73).

These consist of simple frieze bands on the upper part of the vessel, and larger motifs on deep bowl or jar bellies. The first are like more elaborate rim bands: four or more horizontal plain lines, sometimes with one or two wavy lines, equally spaced or in groups (40:5,14,15; 41:2,3; 43:6); horizontal zigzags or chevrons (37:12,25,13; 38:18; 39:9,12,15; 40:11; 41:8,18; 43:7); and odd motifs (37:10; 40:3; 43:21). Unique are the friezes on the outside and inside of a shallow carinated bowl shown in Aria, pl. 42:157: the former filled with a row of “8s,” the latter with a running zigzag. On jar bellies, large coarse bowls and inside pedestal bowls, multiple zigzags are common (37:3,12; 38:8; 42:5,15; 43:23,25; 82:9). 40:11 and 41:3 are from Forum West, but most of the multilinear frieze motifs like 43:6 are late. The slender evidence for the jar bellies has been discussed (under Collar Jars). 42:5: cf. McDonald 1969, pl.44 a: 10. 43:7: cf. Blegen 1937, 623, 15. 43:23: cf. Weinberg 1937, fig.31e,h; Zervos, 399. Hauptmann 1971, figs.45; 46.

Motifs Characteristic and common are: Serrated, toothed and dot-margined lines: 40:24; 43:1,2,45,46; 85:8,14. Zigzag lines about a straight line: 38:31,32; 85:3. Short dashes and squiggles: 41:13,27; 42:5. W and M motifs: 37:5; 38:32. Unique are: 43:12,15,22,27,54-60. Rare are dots (43:62,63), net patterns (43:38) and lattice patterns (Jacobsen 1973a, pl.51; Aria, pl. 49:174,190). The rarity of the two last motifs contrasts strongly with their ubiquity in Urfirnis decoration. Matt Painted sherds are illustrated in Weinberg 1937, figs. 31; 32; Zervos, 399; 400; Walker-Kosmopoulos 1951, pl.1 d-g; 4 a,b; Blegen 1931, pl. I; 1937: fig.623, 12-15; Müller 1938: fig.1,4,5; 2; 3; Jacobsen 1969, pl.98 a; 1973a, pl.51 a; Felsch 1973, fig.6; Papathanasopoulos 1971, pl. B; 1971b, pl. II; Hauptmann 1971, figs.45-48, 54 a; Holmberg 1944, fig.77 b,c,g,i,j; Mastrokostas 1962, pl.136 a; 1963, pl.72 a; 1965, pl.149 a,b.g; 150 a,b; Howell 1970, fig.2:29; McDonald, 1969, pl.44: 10; Aria, pls. 35-44, 48-51.

Static Patterns These consist of designs in which the field is filled with rough linear or individual motifs, or is divided up by verticals into panels. The first group is exemplified by 38:8; 39:4a,13; 40:4; 84:10,12; 85:17; 86:3,4,5. They are well represented at Forum West and should be early. The second, larger group includes patterns in which single or grouped vertical lines are spaced around the rim or shoulder to form panels, which are sometimes filled with other motifs. The verticals may be composed of straight or wavy lines or both mixed (e.g. 39:22; 40:21-23; 42:11-13; 43:14-18, 26); tooth or dot fringed bands (43:14,28); and zigzags alone or about a straight line, which are so characteristic of Forum West (38:27,31,32), and must be early, like 43:28. On the other hand the complex bands 39:1; 40:7,12; 43:29-32,39,40,43, have Polychrome parallels, are not found in the Forum West deposits, and are late.

Parallels West Greece A handful of sherds from Astakos which, for fabric and paint, would pass as Peloponnesian: Benton 1947, pl.28: 57 right (which is not the same vessel as 57 left); pl.25:

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15 with vermilion paint has the shape of 41:5; and a few others, unpublished. The rest of the material is of the local Acharnanian variety.

Nea Makri a single Matt Painted sherd was found, (Pantelidou Gofas 1995, 167), so it appears that the site was not much inhabited at this time. In the Agora area a few sherds have been found, but very little on the South slope, where the predominant decorated ware was Polychrome of a local kind, which points to an independent tradition in the Athens area during Late Phase Period III, although the similarity of such Matt Painted as there is suggests contact with Corinthia. The Matt Painted from the rest of Attica and from Euboea, appears from shapes and style to correspond with the Late Corinthian. Rim bands like 37:1; 38:6; Leondari Cave, Hymettos (BSA); like 38:2 in, on a bowl like 37:17: Euripedes Cave, Salamis (BSA; Mari 2001; like 38:2, out; PsachnaVarka (Theocharis, 1959, fig.6:3; Sampson 1981, 83, figs. 45-46); for other sites on Euboea, id., 85-92; Skoteini Tharrounia (Sampson 1993, figs. 58-72. The pendant 43:9: Nea Makri (Theocharis 1956, fig.40). Pendant arcs like 37:9 on a bowl like 39:9: Agora, no. P235503, unpublished. The Metope frieze decoration of 40:22: Leondari Cave; and like 39:16, out, from the South Slope (Levi 1930-31, pl. XXVII p,s.). The dot motif of 43:62: Psachna-Varka (Euboea, fig.18:10). The Pan Cave collar jar (Zervos, 843) has the same motif elements as 39:1 and 43:35. A Kitsos jar (Lambert 1971, fig.29:4) has similar motifs to 39,12.

Central Greece In Phokis and Boeotia the parallels are closer. The Corycian Cave, near Delphi (Touchais 1980, 144-150) has very similar material; a few surface sherds from Thespiai (Caskey 1951, pl.87:8,9,13) are similar in principle if not in detail to the Peloponnesian; and the proto-Matt Painted from Eutresis has already been discussed (p.69). At Orchomenos and Drachmani, and at Amouri II in the Spercheus, there is more, although at the latter site much of it is a kind of Black-on-Red and perhaps closer to the Thessalian. There is a sufficient number of motifs from Orchomenos and Elateia with Peloponnesian parallels to imply some degree of intercourse or common influence, but the differences in detail and overall style suggest that contacts were limited. 37:5: almost the same profile and motif, but without the serrated rim line, is found at Orchomenos (fig.37; pl.XXI:2 c). For the squiggles of 41:13,22: cf. Orchomenos pl.XXI:2 b; Weinberg 1962, pl.67a:3. For the pendant arcs and semicircles of 37:9; cf. Orchomenos pl. XXI:low g; XXV: 1 and Weinberg 1962, pl.67 a:2. For the butterfly motif of 43:18: cf. Orchomenos pl. XX:1 b. For pendant oblique strokes (38:32); vertical line groups (40:22,23); single and multiple wavy lines (43:11,26); cf. Orchomenos pl. XXI: low a-d,h,I, and Weinberg 1962, pl.67:1,8; b,3,7,8), and unpublished in Chaironea Museum. For toothed and dot-edged lines (40:24; 43:45,46): cf. Orchomenos pl.XX:1 h; 2 c,d,g and Weinberg 1962, pl.67 b, 6, and unpublished in Chaironea Museum. For rim bands like 38:6; 40:12 and triangle-edged bands: cf. Orchomenos XXIV: 1,2; XX: 2 f; XXII:1 a. More complex bands like 39:1; 43:40 have general stylistic analogies with Orchomenos pl. XX: 2 b; XXVI: 2. Handles are similarly decorated: Orchomenos pl. XXII:2 d.f; XXV: 2.

Thessaly. See below, under Polychrome. Origins Weinberg attributed an East Mediterranean origin to Matt Painted ware because of certain technical and stylistic similarities with the Syro-Cilician Ubaid pottery (Weinberg 1970, 597 f). This theory seems to me unlikely on the present evidence: the distance is huge, no intermediate sites are known - indeed, none in Central or Western Anatolia at all - and there is no other suggestion of cultural contact between the Eastern Mediterranean and the Aegean for another thousand years. Until and unless some closer point of origin for Matt Painted intruders is located, it is more reasonable to look for the source in the region where this ware appears in the greatest abundance and variety of form and decoration, and that region is the North Eastern Peloponnese. In Thessaly Matt Painted pottery only amounts to some 6% of the monochrome (Hauptmann 1969, 26), and the repertoire of types is more restricted.

East Greece Matt Painted pottery is found widely spread throughout Attica (for sites: Pantelidou Gofas 2000, 65-67, 71-76), from Salamis to the eastern coast, but is known mainly from small surface collections. Three excavated caves have produced relatively abundant Matt Painted: Pan Cave, Marathon (unpublished), Kitsos Cave (Lambert 1981) and Euripedes’ Cave on Salamina (Mari 2003). At

The two main difficulties in accepting a local origin are the superficially different appearance of Urfirnis and Matt Painted wares, and the scarcity of excavated deposits in which a transition can be traced. These points are worth closer examination.

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The superficially very different appearance of typical Urfirnis and fully developed Matt Painted is the result of less dramatic changes in the technique of potting than might appear. They consist in the use of new types of clay for the body, and of manganese based paints for the decoration (Farnsworth 1963). Mention has been made of the technically intermediate sherds noticed at Corinth and Franchthi, which combine the fabric of the one ware with the decoration of the other. Eutresis group I (p.69) may well represent a phase in Boeotia during which the new kind of pottery was developing out of and alongside the old. Undoubtedly there is much less of this intermediate ware than there was of the Period I-II transition ware, which should mean that the Period II-III transition phase was shorter and saddened.

Polychrome Ware. Figs. 44-46 Introduction All the painted wares with bichrome decoration are treated together because there is insufficient evidence to separate them stratigraphically. There is an earlier and a later style, as Weinberg pointed out (1965, 46), but his criteria of separate linear elements for the early, and black bordered red bands for the later, although true as far as they go, are something of an oversimplification. The differences of ware, shape and pattern are more complicated, and often due as much to contemporary local variations as to chronological factors. Some sherds are difficult to classify with certainty as early or late, as is the case with the Matt Painted ware, of which many Polychrome sherds are no more than a variation (cf. Hauptmann 1969, 26 apropos of the Tsangli painted). In the Peloponnese at least three local styles can be recognised: those at Corinth, Gonia and Klenia. They can readily be distinguished by their decoration and to a lesser extent, since few profiles are preserved, by their shapes: 44:17, for example, does not occur at Klenia, nor 44:9 at Gonia.

The brevity of the transition is also one of the reasons why stratified levels that document it are so scarce, in Thessaly as well as in the south. At Franchthi there appears to be complete continuity, but the conditions of cave deposition are such that fine stratigraphic distinctions are difficult if not impossible to make. House plans, structures and therefore floors do not exist, nor are there fallen walls and roofs to seal in the contents of a burnt or collapsed house, as they may do, with luck, on an open site. Even a long gap in occupation may leave no trace; the surface of the cave floor remains untouched by wind or rain, and new occupants move in to squat among the relics of the old, lying just as they were abandoned, and to mingle and tread down their debris with the earlier. Nevertheless, at Franchthi the broad outline of the story is revealed by the changing proportions of Urfirnis, Black and Matt Painted wares in the successive strata. It is clear that Matt Painted developed alongside Urfirnis, and the Forum West deposits confirm this.

The Gonia and Klenia styles are taken to be characteristic Period III Late Phase wares: the first on the evidence from Prosymna, where it was found in a deposit without any other Period III wares (Blegen 1937, 373); and the second on the vaguer but supporting evidence from Corinth already discussed (Sites and Evidence; cf. LWK, 30,37; Weinberg 1939, 599). The Corinth Polychrome is harder to place, because some of it includes elements of the Gonia-Klenia styles and is therefore assumed to be contemporary with them, while some of it is simpler and occurs in the Forum West deposits. Polychrome wares appear in any case to be less common there than at the other two sites mentioned, where it nearly equals in quantity the Matt Painted.

But the brevity of the transition itself calls for explanation. We do not know what brought about the innovation in pottery, or why a similar horizon of change can be observed from the Peloponnese to Macedonia. Some common external factor or factors must have provided the stimulus. It is significant that so many flourishing Middle Neolithic habitations fell into decline at about this time, or a little earlier, and may well have been abandoned for a while; that caves began to be occupied on a much larger scale, or for the first time; and that Thessaly, Central Greece and the Peloponnese become closer culturally, in terms of the ceramic evidence, at the beginning of the Late Neolithic than they have been since the Early Neolithic. These facts all point to a changing way of life, and therefore probably a changing economy. Whether the causes were human or ecological, the new technique and style of pottery was no doubt only one manifestation of a much deeper change in human affairs.

Fabric and Paint This is similar to that of the finer Matt Painted and shows the same differences from site to site. Rather more of it is red to orange in colour: some 30% at Corinth and 80% at Klenia. The surface colour is most commonly a medium buff at Corinth and Klenia, and pale buff at Gonia, with cream or yellow buff next. There is a lesser amount of pale orange and cream surface colours, and only a handful with an obvious cream or ivory slip. The surface is generally smooth or has a low burnished shine. The paint is normally black or chocolate, and matt, although a number of sherds from all the sites have a low overall lustre. At Gonia the black was applied after the red, but elsewhere the practice varied: at Klenia and on the

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solitary sherd from Kandila the red was painted over the black (Howell 1970, fig.2:30; pl.27 c:2). The red itself varies considerably: at Corinth 50% is orange, 30% brick, and the rest dark or brown red. At Gonia there is a little orange-red, but red or red-brown is commoner; some 25% is a dark vermilion red, and 25.5% brown. Many of the Gonia sherds show signs of reduction; the red has degraded and darkened until sometimes it is hard to distinguish the dark border. Whether this is due to original kiln reduction or to a subsequent holocaust is not clear. Some of the brown effect of the paint may be due to postexcavation treatment; the sherds appear to have been subjected to heavy aciding, which has disintegrated the red to the point where it brushes off at the slightest touch. At Klenia some 70% is a deep red or very characteristic vermilion, and some 18% red or orange brown.

Gonia; Klenia. Late O.B.M. Convex 1 44:12; 83:13. 1 ex. A variation of the next group, found in Grey, Matt Painted and Later wares. Gonia. Late O.B.M. Convex O 44:15,17; 88:2. 8 ex. A dominant shape, with variations. The bowl of 44:15, but not perhaps the pedestal foot, is typical at Klenia; the deeper form of 44:17, with rather straight upper wall, at Gonia. Gonia; Klenia; Prosymna (Blegen 1937, fig.629). Late O.B.M. Concavo-convex 44:2,21; 83:12. 2 ex. A variation of the previous, perhaps confined to Gonia. Late O.B.M. Concave 1 44:13. 1 ex. Perhaps a concave bowl like the Grey 31:22. Gonia. Late

As a general rule the red has a low gloss and the black is matt; but there are exceptions where the red is matt or crusty, or where the whole surface has been burnished after decoration. On some of the Gonia sherds brush marks are visible, and the red is the same as that used for the burnished red slip ware (see below).

O.B.M. Straight O 44:20; 45:5; 83:11. 6 ex. Some of these rims could be also from collar bowls, with bodies like 45:32. Corinth; Gonia; Aria, pl. 45:179. Late

Shapes

C.B.S. Convex 44:9. 1ex. A less common variation of the next shape. Klenia. One from Aria, has a bead rim just like 39:17 (Aria, Pl. 51:182). Late

Pedestal Bowls appear to be relatively common. O.B.S. Straight 3 44:3,6; 87:1. 3 ex. 44:6 from Forum West has a Matt Painted parallel from the same deposit (37:3) and the fabric is like that of the Black-on-Red, although the serpent motif is unique (compare however the dot-fringed spiral in LWK, pl. IV c). The other two rims (like 44:3) have the typical Corinth and Gonia decoration, respectively. Corinth; Gonia End of Early; Late

C.B.M. Convex 44:16,22,19; 83:22,23 10 ex. This is the commonest shape. The lip may be rounded or tapered and there is often the suggestion of a shoulder; some have small strap handles or tubular lugs. One from Franchthi and one from Corinth look like Klenia imports. Corinth; Gonia; Klenia; Franchthi; Prosymna (Blegen 1937, fig.639; pl. III). Late

O.B.S. Straight 2 44:5. 4 ex. The three from Gonia have the typical tapered rim of 44:5 and the one from Corinth has the same profile and decoration as 44:3. Corinth; Gonia End of Early; Late

Carinated Bowls 44:14,18. 2 ex. These are rare; I have only come across two sherds, and only the Corinth bowl is sharply carinated (44:18). It is a typical Grey profile and must be considered later than Forum West, but the linear decoration is not of the GoniaKlenia kind and therefore probably earlier. Shape and decoration suggest first half of the Late Phase. 44:14 from Klenia has Grey and Matt Painted parallels, but the decoration is typical of the Klenia Polychrome. A carination fragment from Aria, belongs here (Aria, pl. 45:178) Late

O.B.S. Concave 2 and 3 44:1. 2 ex. The shape has most parallels in Grey Ware and should be Late, but from the decoration probably comes near the beginning of the Phase. Corinth (Weinberg 1937, fig.33 g; LWK, pl. IV c); Aria, pls. 4 & 45:183. O.B.S. Convex 2 44:11 Both are from Gonia.

2 ex. Late

O.B.Straight 1 44:4,8. 44:4 is the local 'javelin' rim. Gonia.

2 ex. Late

Piriform Jars 45:3,6. 2 ex. 45:3 is from Forum West and belongs to the earlier Polychrome. Corinth. Gonia. End of Early; Late

O.B.S. Convex 1 44:10 4 ex. Relatively common in Grey and Matt Painted wares.

Collar Bowls 45:5,20,23. 45:5 is probably the rim from one of these. The shape is

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hard to distinguish from Collar Jars in small fragments. It occurs in Grey (33:23). Gonia; Klenia. Late

Prosymna. Bases 45:22,25,27; 87:6. Bases are flat, concave (45:27) or dimpled (Blegen 1937, 374,fig.631:5). Walker-Kosmopoulos illustrates a curious disk foot (1948, pl.IV k) which may however be a disk decoration like the Polychrome sherd from Athens (Levi 1930-31, fig.32, n). Blegen 1937, pl. III shows a curious foot, otherwise unknown to me in any Late Neolithic ware except the coarse.

Collar Jars Most of these appear to be from fine, thin-walled vessels; there are few handles. Low Straight Vertical Collar 45:2. 2 ex. These are both from Gonia, one of them being that on Blegen 1930-31, fig.10. Late

Pedestals 44:15; 45:17,21,24,26,28,29; 88:1,2. They appear to be relatively common and are in general similar to the Matt Painted. There are wide (45:21) and narrow necked pedestals (45:17), with straight or flaring feet. Corinth (Weinberg 1937, fig.33 h,c; Zervos, 400 b); Gonia; Klenia; Prosymna; Argos (Daux 1967, fig.17); Aria, pl. 46.

High Straight Vertical Collar 45:4,7,9,14; 81:23; 83:14. 4 ex. Gonia; Klenia; Aria, pl. 45:181. Late High Straight Inturned Collar 45:1,10. 3 ex. 45:10, from the oblique slope of the upper painted line, could be from a pitcher or askos. There is one like it in Grey. Corinth; Gonia; Klenia. Late

Miscellaneous Spoons: a fragment of one like 41:24 but smaller, with the motif of 46:32 on the handle and running into the bowl.

High Concave Inturned Collar 45:11; 82:8. 3 ex. This is a typical Alepotrypa Matt Painted shape and different from the Gonia and Klenia examples. Alepotrypa. Perhaps Aria, pl. 45:180. Early/Late

Lids: 45:12 from Forum West is unique, as far as I know, in any ware.

Jar Bodies 45:13,16,18,23; 81:24; 83:23. c. 8 ex. The only complete jar known (Blegen 1931, fig.16) has a spherical body like 45:13, but squat forms may be more common. Gonia; Klenia; Argos (Daux 1967, fig.17); Prosymna (Blegen 1937, fig.631). Late

There is enough material from Corinth, Gonia and Klenia to distinguish three styles of decoration. The small amount of material from other sites, apart from Prosymna, will be described afterwards.

Decoration

Rim Bands Corinth: either a simple black line (44:1; 45:3) or no line (44:3). Gonia: invariably a medium or wide red band, most often with a thin black border and sometimes interrupted by groups of vertical or oblique straight black lines (44:17,19; 46:1,2). Klenia: two to four black lines on the outside, either all thin or with a wider one on the lip (44:14-16; 46:37-39); 44:10 is exceptional. Inside there is often a frieze of small triangles, claws or semicircles (44:14,15,22; 45:7,9.).

Jug or Pitcher 45:8. Only part of the handle scar on the lip is preserved so its full width is unknown. But wide handles like 45:19 may well be from such a rim. Gonia (Zervos, 413). Late Lugs 44:7; 83:23. Tubular lugs appear to be the only kind used, and they are uncommon. Handles 45:15,18,19; 83:21. Handles are not common. There are small ones on a bowl from Prosymna (Blegen 1937, figs.629,631) and medium ones on jars (45:18; Blegen 1937, fig.530:4; 631:3). There are several fragments of wide heavy handles (45:19) and one has a broad notched thumb grip top (45:15). They are perhaps comparable to the wide Grey Ware handles (34:45,46), and may come from some sort of jug or pitcher. Corinth (Weinberg 1937, fig.33:4; LWK, fig.37); Argos (Daux 1967, fig.17 top right, upside-down); Gonia;

Three-line bands Corinth: a medium wide black line edged with thin red lines (cf. 46:30,34). Gonia: the central line is red and bordered by thin straight or zigzag lines (46:24,25). Klenia: this type of band is hardly used but sometimes a plain red line with borders takes its place. Multiple Line Bands Corinth: these may be composed of thin red lines with wide outer black lines (46:29; cf. Aria, pls. 4 & 45:180-

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185) or alternate red and black lines with rather wider black lines on the outside (44:3; 45:17); the latter is typical. In nearly every case the lines, although close, are separate and not contiguous. The bands are used to make zigzag or chevron patterns. The simple black-red-black line band found in Boeotia appears to be confined to Corinth in the Peloponnese (46:26). Gonia: the commonest is a band of contiguous thin straight lines, the outer ones, which may be wavy, and the central one being black but never wide. Klenia: alternate black and red line bands seem not to have been used. In their place are alternating groups of loosely spaced lines, often irregular (45:21,24; 46:37.).

Klenia: pendant arcs in shallow bowls (44:10) and small solid rectangles (44:14; 46:44) are not very distinctive, but the manner in which they are used is: compare 44:14 with 46:19. The use of red zigzag lines is characteristic (45:1,10). Stylistic Differences: summary. At Corinth the patterns tend to be simple linear: multiple chevrons or zigzags in pedestal bowls (44:1,2) just like the Matt Painted, and vertical lines in more complex bands on pedestals (45:17,26,29). Black is generally the dominant colour in the design. At Gonia the patterns, are, typically, tectonic (44:17,19; 46:24,25), constructed from broad red lines edged with thin black straight or zigzag margins. The added black is always put on over the red. On the inside of bowls the red bands may lack the black borders. At Klenia there is generally a horizontal division between the upper and lower parts of the vessel; red is the dominant colour and is put on after the black. Black is used as a separate and subordinate element in the design, never as a border.

Complex Bands (composed of linear and other elements) Corinth: generally the outer lines are red and the inner lines and other motifs are black; these may be wavy lines (44:18), or small solids (45:29; 46:31). In the case of 45:3 the colours are reversed but the basic principle in Corinthian Polychrome decoration is still observed, namely that black is used for the main theme and red for the auxiliary. Gonia: this kind of band is not used. Klenia: complex bands are rare but do occur (46:43,44.).

Other Sites Solid Motifs Prosymna is the only other site where a sizeable deposit of Polychrome ware has been excavated. The material is very similar to that from Gonia in shapes and style. Many of the motifs and decorative elements are identical. It is quite distinct from the Klenia Polychrome, although the latter site is geographically situated half way along a line between Gonia and Prosymna. See 46:22-25; Blegen 1937, 373 f; figs.26; 628-631; pl. III.

At Corinth, where the decoration is mainly linear, solid motifs are uncommon; 46:31 is one of them, and in one or two instances small added triangles are used as ornaments (45:29; Walker-Kosmopoulos 1951, pl. I h). At Gonia solid motifs in red or black are used more for auxiliary decoration than for the main theme, as at Klenia. They include rectangles (46:19), triangles (44:20; 45:15; 46:9,10; 83:10,11) and others, sometimes too fragmentary to identify (46:5,20; 83:8; Blegen 1931, pl. II low,m). At Klenia solid motifs and broad lines in red are characteristic (44:9,14,16; 46:38,39,41,42; 81:23,24), and red and black are used together (46:38). The material is too fragmentary to identify many motifs, but they include long thin triangles.

Three sherds from Argos (45:18,31,26; Daux 1967 fig.17) are stylistically closer to Corinth than to Prosymna or Klenia. 46:47, from Franchthi, where Polychrome does not appear to be very common, would be quite at home in a Klenia box, for its shape, ware, paint and decoration, and could be an import. The two published sherds from Lerna (Caskey 1957, pl.48:a,b) are technically and stylistically different from anything else in the Peloponnese. The dull purplish paint with black edging, and what can be seen of the pattern outside and in, are unique. If they do not represent some local style otherwise unknown, they must be imported, although it would be a problem to pinpoint the source; there are no close Thessalian parallels. The sherd from Kandila in Arcadia (Howell 1970, fig.2:30), though too small to be diagnostic, is of the Klenia type: the matt orange-red band was put on after the black. Another sherd, from Apidia in Laconia (Waterhouse and Simpson 1960, pl.18 b:11) looks more like the Gonia type. The half-dozen sherds known to me from Alepotrypa are mainly from collar jars, and the quality is poor (45:11; 82:8; 46:46; 89:5). A finer

Other Motifs Corinth: 44:6; 87:1 is clearly intended to represent a snake or caterpillar, like the Matt Painted 88:3, which should be roughly contemporary. 46:27 (LWK, pl. IV d) is a Boeotian pattern. 84:11 from Forum West, although formally Polychrome, is, except for the added red lines, a typical Black-on-Red ware sherd. 46:35 looks, and may be, a Gonia import, except for the very fine toothed margins (barely visible in the reduced drawing: cf. 46:42). Gonia: black auxiliary motifs are commonly employed as fill (46:4,8,11,13,14,15; 83:5,7,9) or to embellish a linear band (46:16-18; 83:13,18; Blegen 1931, pl. II d,e,j,k).

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bowl rim is published with a linear pattern similar but not identical to some from Corinth (Papathanasopoulos 1971, pl. IV:3).

Eutresis (Caskey 1960, pl.44: 1b, II 13,14.16); Elateia (Weinberg 1962, pl.67 d:6); Kalami (BSA). The quality varies from a smeary, barely Polychrome effect at Eutresis to the more elaborate, well finished Kalami sherd, which has a wavy line band like 46:43. A sherd from Orchomenos (pl.IV 2) is very much in the Gonia style, although it differs in details.

Probable imports from one site to another are easier to detect in Polychrome than in Matt Paint. Gonia style sherds turn up at Corinth (e.g. Weinberg 1937, fig.33 d; LWK, fig.37; pl.IV 1 and perhaps k); at Klenia (45:27; 46:4); and at Athens (Levi 1930, pl.XXVII I L). Klenia style sherds occur at Corinth (1959 excavations, unpublished); Gonia (46:7 and others: probably Blegen 1931, pl.II 1); and Franchthi (46:47). See Aria, 110-117, pls. 45-46; 49:190; 51:182. The motifs are chiefly multiple line bands, but include a number painted with black and white (Aria, pl.45:178; pl. 46:186188), a decoration hitherto unknown to me elsewhere.

In the third group, two sherds from Orchomenos (pls.II 3 and IV 5; fig 36) are very similar to sherds from Argos (45:18) and Klenia (44:14).

Parallels

The black-dot fringed red icicle motif from Orchomenos (pl.XX I 1 b) is related to 46:33 from Corinth, and there are similar fragments from Elateia (Weinberg 1962, pl.67 d:3,9, and two in the BSA). It looks like a Boeotian motif and is no doubt contemporary with the Matt Painted equivalent.

West Greece

East Greece

Polychrome is known from Kokkini Spelia, Astakos, Archondaria and Levkas. It is of two kinds: painted directly onto a burnished buff surface, or over a thick white, sometimes burnished, slip. Both kinds are illustrated by Benton (1947, pl.30). Neither has close parallels in the Peloponnese. The black bordered red bands on a jar collar (Benton 1947, pl.24:5) from Astakos have a Gonia appearance, but the black rim line has not; there is one from Kokkini Spelia (Mastrokostas 1963, pl.18 g, top left). At Astakos a black hook-spiral projecting horizontally from the apex of a black triangle (pl.24:5) is like 46:18, but the red net pattern is not. There is a jar collar with handle from Archondaria very like 48:18, with a single black zigzag around the collar and a red-brown line around the neck, which could have come from Alepotrypa. But in general close parallels are lacking and the Polychrome has a style of its own.

In Attica there are two kinds of Polychrome: with and without a white slip. They were found in the Euripedes Cave, Salamis (BSA), the South Slope of the Acropolis; Nea Makri; Pan Cave, Marathon; Kitsos Cave; PsachnaVarka and Amarynthos, on Euboea. The Nea Makri bowl (Theocharis 1956, pl.14:3) is interesting in that it links up the simple black-red-black band to the convex bead-rim bowl which belongs to the Forum West phase. A sherd from Amarynthos (Euboea fig 22,129) is very Peloponnesian in shape, ware and decoration. A bowl from Pan Cave (Zervos, 828) , with black bordered red bands on a white slip has the shape, handle and decoration of the Gonia-Prosymna style, but the upper part is too worn to make out the rim band. The thick white slip is not Peloponnesian and the dimpled knobs opposite the handle look rather later (319). Among the South Slope material there are two probable imports from Gonia (Levi 1930-31, pl.XXVII I.L.). The rest of the Polychrome sherds from there have a white slip, thick and crusty or thin. A few sherds from Gonia and Klenia do have a white slip, but it is not characteristic. However the shapes are similar, as far as one can see: the convex bowls, pedestals (one cut out; for which cf. Aria, pl. 46:186) and a broad strap handle (Levi 1930-31, fig.32 d). The decoration includes the black bordered red bands (pl.XXVII M.N.) and one rim has the typical Gonia rim band, and auxiliary black lines are used (fig.32 n: pl.XXVII N). The characteristic Red-on-White saw-toothed lines and fringes (pl.XXVII A.G.D.L) have parallels in the Corinthian Matt Painted, where, however, they are not so common. The two Salamis sherds are like those from the South Slope, but lack the white slip. They belong to a local South Slope tradition. A base from Amarynthos could almost come from Gonia (Euboea fig.22, 129).

Central Greece There are three kinds of Polychrome: the first, in which the contrast between the colours is slight and the elements are linear and separate; the second, based on wide red bands with black borders; and the third, in which solid red motifs are superimposed on a basically black framework. All three have close parallels in the Peloponnese: First Group: as 46:26: Orchomenos (Kunze 1931, pl.IV 1); Elateia (French 1970, fig.20:31). As 46:27, Elateia (Weinberg 1962, pl.67 d); Drakhmani Piperi (French 1970, fig.20:30). Since both of these motifs are known from only one example each in the Peloponnese, they perhaps indicate Central Greek influences. Second Group (Gonia style): the black bordered red band is widely spread; from Thespiai (Caskey 1951, pl.67:5);

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later than Forum West, that is, in the first half of our Late Phase, and the small quantity and more limited repertoire of shapes suggest that it developed in Thessaly rather later than its counterpart in Corinthia. The Arapi, Otzaki and Dimini styles, which there is reason to suppose represent to some extent local styles as well as chronological phases, will thus correspond to the rest of the Late Phase of Period III in the Peloponnese.

Thessaly The Period III painted wares of the Peloponnese, like the black and Grey monochrome, have parallels in the Thessalian Late Neolithic which are close enough to have some chronological significance, but not sufficiently detailed to establish a precise synchronism. The carinated bowls of the Tsangli and Arapi phases are the most obviously similar shapes (Hauptmann 1969, figs.13, 15-20; 21:8; Beilage 1:13-15; 4:1, 2). Other parallels include pedestal bowls (fig.22:7, 8), which appear to be commoner in the Arapi than the Tsangli phase, concave cups (fig. 22:5), piriform and collar jars. Distinctive features are the waisted handles on carinated bowls and collar jars in both Tsangli and Arapi phases (ibid, 62; figs.21:8, 9), the Matt Painted decoration of the Tsangli phase (ibid, Beilage 2:1, 2, 6, 10, 12, 13, 19, 21, 23, 26, 34, 37, 42-45, 51, 54, 57-61) and some of the Arapi patterns (ibid, Beilage 5:1, 2, 14, 28, 31, 34, 44, 52, 53, 58, 79, 81, 83). Waisted handles are not found in the Forum West deposit and should therefore be later. Painted ware constitutes only a small percentage of the Tsangli pottery (ibid, 26). Some Tsangli motifs are found at Forum West (e.g. the short squiggle) and on later material (the rim bands of Beilage 2:1, 2). Gonia and Klenia shapes are not carinated, although one is illustrated from Aria, (Aria, pl. 45:178); the commonest are open or closed convex bowls, which are virtually absent from the Tsangli phase, rare in the Arapi phase, but common in the Otzaki and Dimini phases, often with a slight shoulder.

Chronology The three pottery groups from Prosymna have been mentioned (p.23). It is the only site where a pure Polychrome deposit was found, apparently unmixed with Matt Painted or Grey Wares. This means that for a short time, at least, a group of people lived or camped on the East Yerogalero ridge, where the five pyres or hearths were found, who made only Polychrome, brownish-black monochrome, a little coarse incised and much coarse utility pottery (Blegen 1937, 24, 372 f). It is hardly possible, considering the tiny amounts of Polychrome known from sites other than Corinth, Gonia and Klenia, to believe that there was a Peloponnesian-wide phase during which the only fine ware made was Polychrome. Therefore the Prosymna potters must represent a small community, specialising in the production of this ware, which flourished at a time when Matt Painted pottery was still being produced at other sites. The remarkable similarity of the Prosymna and Gonia pottery suggests that there was a close tie between the two settlements. Possibly the Prosymna group was an offshoot from Gonia - colonising, refugee or transhumant. It is in any case clear that the Polychrome group II at Prosymna is later than the group I with Matt Painted, Urfirnis, Black and Grey Wares.

The differences in repertoire and emphasis are equally important. Pedestal bowls are a dominant type in the south, but rare in the Tsangli phase. Shallow open carinated bowls like 40:13 are rare or absent in Thessaly, like the convex bowls and flat expanded rims. Most of the shapes on fig.39 are missing in the north. The typical Thessalian basket handles, horned handles, rim tabs and spur lugs are absent in the Peloponnese. Of the decorative patterns there is a larger number in the Arapi phase without than with parallels in the Peloponnese, and the difference is reflected in the finish; matt paint is confined to the Tsangli phase. The many differences of detail between the regions make any assessment of the parallels tentative; but assuming for the moment that the common features may be evidence of a cultural relationship, the waisted handles on the Tsangli carinated bowls imply a later date for that phase than for the Forum West material. This accords with the fact that no Grey on Grey Ware, present at Forum West, has been found in stratified Tsangli levels. Also, the extreme forms of the Tsangli monochrome carinated bowls fit better with those of the Peloponnesian Late Phase Grey and Black Wares than with those of Forum West. The Tsangli phase, then, may overlap, but should on the whole be slightly

At Gonia there is no good stratigraphic evidence, but a rough sample count of the trench alpha material gives percentages of 34% for the Polychrome and 21% for the black Matt Painted wares, which indicates that Gonia was an important Polychrome pottery centre. There is also a larger percentage of red Matt Painted Pottery (17%) than at any other site I know, but very low percentages of Black and Grey Wares. One conclusion is evident: the floruit of Gonia was relatively short and came late in Period III, at a time when Grey and black Matt Painted wares were on the wane. This is perhaps confirmed by the style of the Gonia Matt Painted which, although not closely reflecting the specialised Polychrome style, is yet different from that in the Forum West deposit. Polychrome ware, then, should come at the end of Period III, before the (Period IV) Crusted and Pattern Burnished wares, which are not found at Gonia, but contemporary with or closely overlapping the red Matt Painted. At Franchthi Vitelli found Klenia type sherds in the upper mixed levels where the later Crusted ware also occurred,

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and therefore suggested that they perhaps should be FN (Franchthi 2, 71).

sites. 49:13 is probably from a wide squat jar, and the black paint is over the red slip; indeed it might pass as a Black-on-Red piece were it not for the bright red scribble burnish inside and out. 49:16 is different; the decoration is by dark pattern burnished strokes on a warm buff ground. It is worn and much of the surface has been lost, but the design is unlike that on the other Pattern Burnished pottery. 49:15 has a simple burnished neck line.The reserved triangles of 49:10,11 bear a superficial similarity to some of the Central Greek reserved decoration (e.g. Kunze 1931, pl.IX 1d, in black, or pl.XI 1, utility ware) but the shapes are different. There are however one or two very similar looking sherds in the museum at Aigina.

Since the distribution of the Gonia-Prosymna ware is, apart from one or two possible imports elsewhere, limited to those two sites, what was the contemporary pottery at Corinth, Klenia and other sites? The only site with stratified deposits of this phase is Franchthi, where Polychrome, like fine Grey Ware, appears to be scarce. At Corinth, Argos and Alepotrypa Polychrome is found in small amounts only, quite insufficient to postulate a separate chronological subphase, such as might conceivably have existed at Gonia and Klenia. The answer must be that at sites where a dominant local Polychrome tradition did not develop, Matt Painted continued to be made. To judge by the decorative style, this late Matt Painted would have consisted of pottery decorated in the manner of 39:1; 40:22; and 43:16,18a,20, 32,33,40,47,48.

Coarse Wares Little will be said here about Period III coarse wares because it has not been possible to study the material from the only three sitesæCorinth, Franchthi and Prosymnaæwhere stratigraphy or closed deposits make it possible to assign shapes and traits to one or other Period or Phase. It is clear that a characteristic of Period III is the "dramatic increase in the amount of coarse ware" (Jacobsen 1969, 369) and this is even more true of Period IV. The distinction between my Periods III and IV is not stratigraphically very clear at Franchthi because of the upper level disturbances in the cave (Franchthi 2, 7-10). Most of the profiles shown on Jacobsen 1973a, fig.8, appear to belong to Period IV. And see Franchthi 2: 30 f for the coarse wares.

It is not possible at present to give a more detailed account; in the Peloponnese as in Thessaly it is difficult to separate local geographical from chronological traits, and the chronological phases may be equally short. Gonia Red Pattern-Burnished Ware. 49: 8-17 This ware is much in evidence at Gonia, where it makes up some 10% of the Neolithic material from trench alpha, and which turns up at Corinth in late, mixed contexts. The fabric, slip and shapes are like those of the Polychrome ware. Most of the sherds have an orange red slip that displays both brush and burnish strokes, which are sometimes difficult to tell apart. The stroke or scribble burnish is the same as that found on the Red PatternBurnished ware of Period IV, although less emphatic. The ware could be regarded as an early and local, but overlapping variety of the Pattern- and Stroke-Burnished wares; but it is so clearly linked by fabric, slip and shapes to the Polychrome that it should be at least partly contemporary. One sherd, 49:12, has been reduced in the firing to a dark grey, again like much of the local Polychrome.

There is a considerable amount of coarse ware in the Forum West deposits, which I date to late in the Early Phase, ranging from medium fine, smoothed vessels to large bowls and jars of very coarse fabric with a rough slurry finish. The shapes include large open bowls, low jars with a low neck, collar jars and pedestals. Some are roughly painted (85:12). Group II at Prosymna is assumed to come from a closed deposit of limited duration characterised by the fine Polychrome ware (see above p.23). It is of course quite possible that the deposits from the hearths cover a slightly longer period and that some of the coarse ware, including the incised, is slightly later than the Polychrome. In any case some of the coarse ware is illustrated and gives an idea of the features to be found at the end of Period III or beginning of IV; there is probably little difference. Similar features can be noted among the mixed material of Periods III and IV from Klenia and Alepotrypa which are described under Period IV, but which may date back to the end of III. They include different sorts of ledge lugs: indented, rectangular, crescentic and scalloped (Blegen 1937, fig.625:1,2,5,6,9,10); medium and long thin strap handles, just like the Polychrome ones (ibid,

49:9 is a standard Late Period III pedestal bowl shape with a plain red streaky burnished slip. 49:10,11 (83:1,3) are vertical walls with tapered rims from shapes, perhaps, like 44:17 or 44:21. Like the piriform jar rim 49:12, they have small reserved triangles or bands, which in one case æ and perhaps in others, since the paint is much worn to be sure æ contains a little motif in black matt paint. The reserved areas were reserved in the course of the painting, not during the burnishing. The curious javelin rims of 49:14,17 (81:1,2) and the soft carination of 49:8 are also found among the Polychrome shapes. The black painted decoration on them is not found on other wares or at other

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fig.625:8,11,12); single and triple-dimpled knobs (ibid, fig.626:1,5,8; cf.51:24 from Gonia); dimpled cordons and one with a spiral (ibid, fig.626:2,3,4,6,7,9,10). That these features continue throughout Period IV shows a cultural continuity between Period III and IV underlying the other different finer wares.

(Sampson 1993, 89-91 and 290, figs. 75-76). Three similar looking sherds are published from Sesklo and Dimini by Tsountas (1908: figs.113-114) and some very Pan Cave-looking examples from Ay. Petros by Theocharis (1971,29, fig.3). Elsewhere they are not common.

Finally, there was a fair amount of incised decoration (ibid, 372-3; fig.627). Some of these pieces, apart from being coarser and cruder, are not so dissimilar from the fine incised material in Group III, which accompanies the Pattern Burnished ware (ibid, fig.633), and one suspects that the two groups are not chronologically far apart.

Chronology of Dot Incised Ware There is none of this ware from Kephala and only one sherd from the Agora (pls.7:69,no.99), where a handful of Period III Grey and Matt Painted sherds were also found. The three most characteristic fragments are from Gonia, where no Agora type material occurs, and where the bulk of the finds appear to belong to the Late Phase of Period III. Contemporary Matt Painted material is also well represented at the two Attic sites where the Dot Incised is found in greatest quantity, Kitsos and Pan caves and at Skoteini Cave on Euboea. The evidence is slender, but it suggests they belong to a phase preceding that of the Agora, towards the end of Period III. This type of decoration plays a minor role in the Samos, Tigani and Ayio Gala incised repertoire, and if one chooses to regard it as an early manifestation of East Aegean influence, along with the cordon decorated ware and baking pans, then the chronology would fit, because Tigani and Ayio Gala are generally regarded as belonging to the Anatolian Late Chalcolithic 1 and 2 (Mellaart 1964, 25).

Dot Incised Ware. 47:29-31 This small group of sherds from Corinth, Gonia and Klenia is hard to place. I noted some four from Corinth, three from Gonia and one from Klenia. The fabric is black, dark, tan or light red, and the decoration consists of incised bands, lozenges, rectangles or triangles filled with small pricked dots (pointillé decoration), which in some cases seem to have been white-filled. The few body sherds and one strap handle fragment give no clue to the shapes, except for a rim from a bowl like 32:26, from Temple Hill, which should probably be included in the Grey category; a squat, closed belly sherd from Forum West has the same motif (as 34:13). All the Corinth sherds are best regarded as belonging to the end of the Period III Early Phase or beginning of the Late, and the decoration as derived from the Rhyta. They have parallels in Boeotia (Kunze 1931, pl.VI low d; D.I. photo no.127). The Gonia sherds (47:29-31); 83:26,29) are rather different in fabric and motif. They are clearly part of a group that appears to be centred on the east coast of Attica and in Euboea, if frequency of occurrence is any indication. The Pan and Kitsos caves in Attica and the Skoteini Cave on Euboea have produced the most; the motifs are like those from Gonia (Zervos, 838; 841; 842; Lambert 1971, figs.26; 27; 1972, Fig.13; Sampson 1993, figs 75-78). There is a handle fragment in the BSA from Pan Cave identical to that on Zervos, 838: it has the same motif on one side and on the other that of 47:29. These handles come from a curious vessel, perhaps local to Attica, something between a rhyton and a Kephala scuttle, a little like Tsountas 1908, fig.152, except that the left-hand wall curves more inwards, and there is no projecting overhand to the right. The mouth is roughly circular in plan, and slopes obliquely down from the back, where the handle is attached, to the front. They are mounted on low ring feet. The back of one is illustrated from Kitsos (Lambert 1971, fig.26), and perhaps Zervos, 842 is the lower half of another. There are several complete undecorated examples from Pan Cave in the Brauron museum and a number were found in the Skoteini Cave on Euboea, dated by the excavator to the beginning of his LN I period

PERIOD IV: Final Neolithic Introduction Period III ends with the last of the Matt Painted and Polychrome pottery, although coarse painted ware continues for a time, since it is found together with the Pattern Burnished ware at Prosymna (Blegen 1937, 375; fig. 634). Period IV covers the latest or final Neolithic period and the transition to the Early Helladic. I have divided it into an Early and a Late Phase because the nature of the material and the changing cultural orientation at the end seemed to justify it. The number of sites attributable to this Period is considerable, but at the time this was first written they were known chiefly from scanty surface collections or deeper mixed deposits. In the absence of well stratified excavations and deposits I arranged the material according to its typological affinities, where they were apparent, comparing them with pottery groups outside the Peloponnese that had some sort of chronological status of their own, such as those from the Agora, Kephala and Grotta. Since then we have had the useful excavation of Ayios Dimitrios, where the Final Neolithic stratum was separated from a subsequent Early Helladic stratum by a sterile layer.

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Apart from the relatively small amounts of distinctive fine wares, like the Crusted or Pattern Burnished, Period IV pottery is all monochrome, in various shades of black, dark, red, tan and mottled; plain or slipped; and burnished, smoothed or slurry finished. The technical differences are not striking and, without stratigraphic evidence, cannot be evaluated chronologically. I have divided the material into three groups: that which seem characteristic of the Early Phase; that which could belong to either, or certainly belongs to both, of the Phases; and that which seems characteristic of the Late, Transition, Phase.

North West 1. ?Kastro Kalogrias

The Early Phase includes the Prosymna or Aigina type of Pattern Burnish, the Prosymna Incised; the white and red Crusted ware, and features or shapes that can be linked to the Agora-Kephala groups. The Late Phase comprises the Rolled-Rim bowls of Kum Tepe Ib type, French's North Slope group, and the typologically latest pottery from Alepotrypa, which is transitional to EH I. I have used the latter material to define the end of the Neolithic, because, although it contains features suggestive of EH I, and which in an actual EH I context could pass without comment, none of the criteria is present which seem to me to characterise that period (see Appendix A). Another reason is that it is the latest pottery, so far as the limited evidence in some cases allows one to judge, in a number of caves, all of which seem to have been abandoned at this point, not to be reoccupied before the Middle Helladic period, or even later; in the case of Alepotrypa, not at all. The caves include Rizoupolis, Kitsos and perhaps the Marathon cave in Attica; as well as Klenia, Franchthi, Kamenitsa, Koufiero, Baroutospilia, Kokora Troupa and Portes in the Peloponnese, as well as the open site of Lerna. This break in cave occupation forms a rough chronological horizon across the Peloponnese, even though there is no such typological break in the pottery. The latter changes so imperceptibly that many sherds cannot with assurance be labelled Final Neolithic or EH I, and it seemed best to class groups of pottery that lack the distinctive EH I features simply as Transitional, or Late Phase Period IV (cf. Hauptmann 1971, 352; Howell, 1970, 106-108).

North Coast 5. Akrata 6. Corinth 7. Gonia

Mastrokostas 1968, 138. See Sites and Evidence, p.14. Blegen 1930-31.

Inland Corinthia 8. Kionia-Stymphala 9. Phlius 10. Klenia

Howell 1970, 98, no.41. Biers 1969, fig.3:34,36,37. Syriopoulos 1964, 24.

Inland Argolid 11. Prosymna

Blegen 1937, figs. 632-635.

Coastal Argolid 12. Kokkina Chonikas 13. Asine

∞¢ 36 (1981) Chronika, 114. Johnson, forthcoming.

FN Site List

2. Portes Patron

3. Kastro Kalavryton 4. Cave of the Lakes

Arcadia 14. Franchthi 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.

Map 4 (fig. 65)

For a larger list up to 1997, see Sampson 1977, 352-356, Map fig. 85.

26. 27.

Coarse monochrome sherds are not diagnostic, being similar and common in the Final Neolithic and Early Bronze Periods. Small surface collections cannot therefore be closely dated unless they include diagnostic features. The reported sites marked with a query are thought, from the descriptions, and contexts, to fall somewhere close to the Final Neolithic - EH I transition.

28. 29. 30. 31.

104

Mastrokostas 1964, 62, pl.60a. Mastrokostas 1967, 216; 1968, 138; BSA sherd collection. Mastrokostas 1961, 132; Howell 1970, 97, no. 38 1.. Mastrokostas 1967,216; Howell 1970, (Kastria Kalavryton) 97; Sampson 1977.

Jacobsen 1969; 1969; 1973; 1973a; Franchthi 1 & 2. Halieis Jacobsen 1968, 145-8. Ydra Agouridis, unpublished. Argos Daux 1967, 814. Lerna Caskey 1958, pl. 36a-c; pl. 41 b,d. Kephalari Felsch 1971, fig. 15. ?Khotousa-A. Yeoryios Howell 1970, 81, pl. 27 a. Kandila-Bikiza Howell 1970, 82, pl. 27 c. ?Vlakerna-Petra Howell 1970, 82. ?Dhavia-Kastro Howell 1970, 100. pl. 35 a. Kamenitsa, cave Demakopoulou 1967, 203. Sakovouni Spyropoulos: AR 43 (1997), 35-36. ?Rousos-Merkou Howell 1970, 83, pl. 28 a. Artemision-Ay. Dimitrios Howell 1970, 86, pl. 29 a. ?Milea-Ay. Nikolaos Howell 1970, 87, pl. 30 a. Merkovounion-AyioliasHowell 1970, 89, pl. 30 b. Asea Holmberg 1944; Forsén 1966. ?Dhervenion-Kotroni Howell 1970, 102.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Laconia 32. Kouphovouno 33. Parnonberger 34. Yeraki

35. Kouveleïki A Cave 36. Asteri-Karadusa 37. Ay. Strategos

38. ?Goules-Plitra 39. Alepotrypa

O.B.Convex 1 47:1,2,3,7,8; 94:2,5. 12 ex. Most of the Prosymna profiles are of this shape; they have the same tapered, slightly everted lip (eg 47:7) as the Pattern Burnished bowls from there, unlike those from Klenia. Handles seem to be common. Klenia; Prosymna (Blegen 1937, fig.633:1,2,4,5,6,8,9).

Renard 1989. von Vacano 1942, 156. Waterhouse & Simpson 1960, 85-86; AR 47 (2001), 33. Koumouzeli 1995. Waterhouse & Simpson 1960, 89-92. Waterhouse & Simpson 1960, fig. 15:1-4, pl. 19 a: 34. Waterhouse & Simpson 1960, 139-140. Hauptmann 1971, 352, figs. 49-50; Papathanasopoulos 1971;1971 a;1971b; 1992;1996;1997.

O.B.Convex O. 47:4,6; 94:2,5. 6 ex. A variation of the previous. Klenia; Prosymna (ibid, fig.633:7). C.B.M.Convex 47:10-13. 6 ex. 47:10 from Corinth is slightly different. It is in the same red ware as the Pattern Burnished and the very fine incised pattern is an exact copy of the commonest Pattern Burnished theme. Corinth; Klenia; Prosymna (ibid, fig.633:3). Handles

Messenia 40. ?Kastros-Kardamili McDonald 1969, 161. 41. ?Zarnata-Kambos McDonald 1969, 161. 42. Kokkinmochomata-Pighadia McDonald 1961, 251. 43. Paliokastro McDonald 1969, 155. 44. Nestor’s Cave McDonald 1961, 243. 45. Voidokoilia Korres passim: 1977,42262;1978,334-347; 1979, 138-155; 1980,150-173; 1982, 212-230. 46. Kokora Troupa McDonald 1969, 156, pls.44a: 1,7,12; 46:1. 47. ?Chora-Katavothra Marinatos 1955,245; Daux 1956, 285. 48. Koufiero Cave McDonald 1969, pls.44 a:26,8; 46:2- 4. 49. Baroutospilia-Vournazi McDonald 1969, 158. 50. Nichoria Hope-Simpson&Dickinson 1979, 151.

The four noted at Klenia are simple straight sided strap handles, as found on many plain and coarse ware bowls. The two from Prosymna (47:7) are like those on Pattern Burnished bowls (49:2). No bases were identified; being simple they would not be easily noticed. Two low pedestals seem to belong here: 47:20 from Corinth and a very similar one from Klenia. The latter has a row of inverted triangles alternating with the upright ones on the foot, so as to create a reserved zigzag. Decoration The incised lines vary considerably. The best are very fine and sharp, but in some cases they have been so blurred as to be almost obliterated, by cutting into the still wet slurry or from careless handling in a soft state. The outer line of a band, where there is one, is neat and straight while the fill lines are carelessly scratched in. The decoration is confined to a narrow or wider frieze around the rim, which may be divided into panels. At Prosymna the published patterns have a lower and generally an upper horizontal margin line; at Klenia there are no upper margin lines and sometimes no lower line either, resembling in this the incised bowls from the Prosymna group II which accompanied the Polychrome ware (Blegen 1937, fig. 627).

Elis 51. Ayios Dimitrios (Lepreon) Zachos 1987.

Prosymna Incised. 47: 1-20 Pottery of this group has been found at Corinth, Klenia and Prosymna (47:1-20; 94:1,2,4-9), Ay. Dimitrios. The fabric is medium fine to coarse and has a porous texture. Two thirds of the sherds noted were dark to (rare) black, and one third red. The surface colour is generally dark grey to black, with few tan or red shades. About half are burnished, but only one or two finished to a high glossy black (eg 47:5); the rest have a smooth or slurry finish (cf. Blegen 1937, 375). The only certain identifiable shapes are simple convex bowls.

Whether or not they were white filled or crusted one cannot now tell. The Prosymna vessels, from the look of the patterns, were not. At Klenia traces of white fill were noticed in only one instance, the glossy Black-Burnished 47:5; from the appearance of this sherd it seems unlikely that crusted decoration was used. On the other hand, the irregular scratched fill of some of the other motifs looks as it were intended as a key for pigment.

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The patterns fall into two types: simple parallel groups of four or more oblique lines and more complex arrangements of filled bands and triangles. The first is the commonest (47:5,6,7;99: 12-17). Some of the Prosymna bowls have the common Pattern Burnished basketry motif (47:14-16). 47:1,2,4,8,18; 94:1 are of the second type.

47:32 is a complete bowl from Akrata. The two holes below the rim and the larger one on the lower wall were made after firing but not, to all appearances, recently. The shape is not diagnostic but could hardly be earlier than Period IV in this ware, and the decoration is unique. If it is indeed Neolithic, the only phase in which it could be placed is the Early Phase of Period IV, contemporary with the Agora, where similar shapes occur. The little chevron rows are slightly suggestive of the Bronze Age, although there are no close parallels. (cf. Tiryns IV pl.2:2) 47:33, unstratified from Corinth, combines the lustrous red brown paint of the late Prosymna group III (Blegen 1937, fig.634) with the groove and dot decoration of the Agora-Kephala culture, and should be Early Period IV. 47:34, unstratified from Corinth, with white-filled incision, is reminiscent of the West Anatolian or Northern Late Chalcolithic or Early Bronze Age, but there are no close parallels for the combined shape and decoration. From the roughish inside it could be a lid.

Distribution It appears to be a local northeast Peloponnesian ware, although like the contemporary Pattern Burnished and Crusted wares it may be found elsewhere, for example at Ay. Dimitrios (5 sherds: Zachos 1987, 56); there are no close parallels in Boeotia or Attica, but there are in Euboea Sampson 97, 100, fig. 82:1-5). A fine incised ware is common enough in Central Greece, but the decoration is generally by multiple zigzag lines, overall or in panels (Kunze 1931, pl.V:1; Weinberg 1962, pl.62 d:79; and others from Chaironea and Drachmani). A sherd from Orchomenos (Kunze 1931, pl.IX: 4) bears some similarity to 47:10, but neither of them are typical of the true Prosymna Incised; perhaps also a sherd from Kitsos (Lambert 1971, fig.25).

Stroke-and Pattern-Burnished Ware. (48: 1-31; 49:1-7) Pattern burnishing is a widely employed technique and not necessarily an indicator of cultural or chronological affinity as such (e.g. between Western Anatolia and Attica): there are different kinds. The differences between the Stroke- and Pattern-Burnished wares does not appear to be significant enough in the present context to justify making two categories, and they will be treated together. The shapes and fabric are similar and the carelessness of some of the Patterned decoration sometimes makes a hard and fast distinction between them difficult to draw. Stroke-Burnished in itself occurs on different wares and at different periods (cf. the Stroke-Firnis), and this particular ware is related to the streaky or scribble burnished Gonia Red Pattern-Burnished Ware already described, but the strong, sparse burnish on fragments like 48:28,29 is not found at Gonia.

Chronology The Prosymna sherds came from the same deposit as the Pattern Burnished. The latter should represent a separate phase either slightly earlier or later than the deposit with the Polychrome, but since no earlier wares are present, and since the Pattern Burnished is best compared with that from Aigina, Kephala and the Agora, it is a fair assumption that the Incised is later than the Polychrome. The Corinthian sherds do not come from Forum West or Temple Hill, but from deposits which, although mixed, contain only later Neolithic and even Early Helladic material. The two most important deposits are those from south of Temple E, which, interestingly, also supplied most of the late “Dimini type”- Polychrome (LWK, 33,53; fig.34, "crowded incision"), and from the site of the New Museum extension excavated in 1940 by Kent and Roebuck (Weinberg 1948, 197, note 1). There is none from Gonia, which further suggests that it is later than the Polychrome. From the general similarity of the incised sherds in the Prosymna groups II and III, it is probable that the two deposits are close in time, and I would therefore place the Prosymna Incised at the beginning of Period IV, when apparently Gonia had ceased for the time to be occupied, since other Period IV wares are missing from there.

The fabric is buff or brick and may have a thin black core; in a few cases it has reduced to dark grey. The surface is buff or reddish and often carries an orange, red or redbrown slip. The decoration is generally on a reserved band around the rim. At Klenia some are mottled red, black and buff, and sometimes the burnished strokes on the red surface are dark or black. The burnishing on the patterned sherds tends to be thick and streaky (well illustrated on Blegen 1937, fig.635), and on the Stroke Burnished, sparse and running in different directions on different parts of the vessel (48:28; 93:9; Weinberg 1960, pl.63b:8). The patterned sherds are not numerous.

Odd Incised 47:32-34; 94:3. Three pieces do not fit into any category, but are worth a passing mention for their intrinsic interest.

Shapes: commonest are open or slightly closed bowls. O.B.S. Convex 2 48:1; 49:1. 2 ex. Very shallow shapes are few. Klenia.

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Kephala group. Corinth (Weinberg 1960, pl.63 b:8); Klenia.

O.B.S. Convex S/M 1 48:2,5,6,7; 49:2; 93:2. 7 ex. This merges into and can be taken with the next shape. 49:2 from Klenia has highly glossy black strokes; the handle and profile are very like the Prosymna Incised bowl from Prosymna (Blegen 1937, fig.633:1). Corinth (Weinberg 1937, fig.29e); Klenia; Prosymna (Blegen 1937, fig.635:1); Asea (Holmberg 1944: pl.I a).

Lugs There is one horizontal tubular lug (48:17; cf. Aria, pl. 25:45) from Klenia, of a type found on other wares, and two or three elephant lugs, which are commoner on coarse ware vessels. They are found on the Agora-Kephala pottery and seem to be associated with Pattern Burnished ware. None was found at Ay. Dimitrios (Zachos 1987, 123). 49:3 is an angular variety apparently confined to Corinth.

O.B. Convex O 48:3,4,8. 4 ex. Corinth, (Weinberg 1960, pl.63 b:4); Prosymna (fig.635:3).

Handles 48:20; 49:2; 93:2. Miniature strap handles on or close to the rim of convex bowls, like those on the Prosymna Incised, are characteristic. The larger handle 48:20 is more usual on coarse ware (Blegen 1937, fig.632:4). Klenia; Prosymna; Kouveleïki A.

C.B.M.Convex 48:9,10,12,14,15; 49:3,4; 91:6; 93:6. 11 ex. Common. There may be more variation of form than is apparent from the rims. One has a lug, one an elephant lug, and one a small handle. Corinth (Weinberg 1960, pl.63 b:1); Klenia; Prosymna (fig.635:1,2,4). It is not clear whether the reserved lines on 49:3 are the result of scraping away the slip, or a fugitive paint applied before burnishing. C.B.Straight 48:13. 2 ex. 48:13 is in the Aigina style, but the shape and the proportions of the burnished lines are different. There is a similar rim from Corinth, with more tapered lip and a small angular elephant lug of Corinthian type (like 49:3) in tan fabric with black stroke burnish. Corinth. Klenia.

Decoration Some of the stroke burnishing is used in a vaguely decorative manner (48:28,29; 93:7). The more organised patterns fall into several groups: a narrow reserve band below the rim with basketry patterns (48:4,6,25; Blegen 1937, fig.635:5; Holmberg 1944: pl.I a; Aria, pl. 52:132); a deep reserve band with the same patterns; well spaced vertical or oblique lines pendant from the rim (48:1,3,13,23,27); and more complex, less regular patterns (48:7,21,22,24,26). 48:24 is the only example of this ware from Gonia. The pattern, like 48:7 from Corinth, is different from the Prosymna Pattern Burnished and is probably contemporary with the Gonia Red PatternBurnished sherds of 49:8,14.

Carinated bowls 48:11,16. 2 ex. These are the only carinated fragments I have seen in this ware. 48:11 has close parallels in the Agora, and is not related, at least directly, to the Period III carinated shapes. 48:16 (Weinberg 1960, pl.63 b) is the curved lower wall or base of some angular bowl. Collar Jars 48:23 Jars appear not to be common in this ware. 48:23 from Corinth is a shoulder fragment.

Distribution Peloponnese

Jug A red Pattern Burnished jug with been published from the Kouveleïki A cave in Laconia. It has a strap handle with a knob on top (Koumouzeli 1995, fig. 16).

It is generally scarce in the Peloponnese except in the north east. It has been found at Nestor’s Cave, Voidokoilia and Koufiero Cave in Messenia, Ay. Dimitrios in Elis, Kouveleïki A Cave and Alepotrypa in Laconia. It is often found in the same context as Crusted Ware. At present it would appear that Pattern-Burnished ware, centred on the Attica-Saronic Gulf, did not penetrate widely in the south. Corinth; (Gonia); Klenia; Prosymna; Franchthi (a little: Jacobsen 1973a, 273 note 48); (Asea); Aria, (pl. 18:193); Voidokoilia (Korres 1978, 137; 1979 138; 1980 168, 184); Nestor’s Cave Zachos (1987, 53), Ay. Dimitrios (Zachos 1987, 53); Kouveleïki A Cave.

Bases Flat or slightly concave bases (49:6,7) seem to be usual. 49:6 is also characteristic of the Agora bowls. 48:32 is a ring foot found commonly on coarse ware vessels of the period. Pedestals 48:28-30; 49:5; 93:7. There are half a dozen or so of these, including two with cut out decoration, one oval and one rectangular (48:28,29). Perforated pedestals are typical of the Agora-

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and Arapi shapes and style are entirely different, although some of the individual patterns are the same (cf. Hauptmann 1969, 58).

West Greece The only Pattern-Burnished I have seen comes from Archondaria. It has a red slip decoration like 48:13, without the lip band and with more widely spaced lines.

Chronology & Summary

Central Greece

At Corinth the ware has not been found in closed contexts, but its absence from fairly secure deposits of earlier Periods is significant. The mixed deposits in which it occurs contain both Later Period III and Period IV material, or only the latter. Among them are the 1940 New Museum extension excavations (Weinberg 1948, 147, note 1), for information about which I am indebted to Dr. Lavezzi; the 1968 North Building excavation, from which some baskets of sherds were shown to me during a visit to the site; and Weinberg’s 1959 excavations in Temple K and beside the Lechaion Road, in the report of which he comments that the ware is “new to the Corinthian repertoire of Late Neolithic pottery” (1960, 250). Lastly, it did not occur on Temple Hill, at least in sufficient quantity to attract attention. The conclusion is that it must be later than the Late Period III Grey Ware.

I know of little that is comparable from Phocis or the Kifisos Valley. There is plenty of Pattern-Burnish from Orchomenos and Elateia with basketry patterns in a narrow reserve band, like 48:4, but it is all on the Black carinated bowls of Period III (Bothros). Kunze's Class H, Utility Ware (1931, pl.XI; fig.18 b; Zervos, 423 from Drachmani), looks similar, especially pl.X f; pl.XL a,b. are reminiscent of the Gonia Red Slip 49:11,12. East Greece A particular Pattern-Burnished style characterises the first half of Period IV in the Attica-Saronic Gulf region. It has been found around the Acropolis, at Asketario, Thorikos and Kitsos in East Attica; and at Aigina. The Kephala burnished ware may have similar patterns, but from what I have seen of the shapes it appears to be rather different. Local Aigina pottery also is distinguishable stylistically from the Attic. The colour is predominantly red, but black and black and red mottled sherds are found at Aigina, and perhaps elsewhere. However, the style in general is distinctive and a useful chronological indicator.

At Gonia some of the Red Slip ware is Stroke- or Scribble- Burnished, but there is virtually none of the kind of ware described here; the single pattern burnished sherd is different to the Prosymna or earlier wares. It must therefore be different in time from the Polychrome, and certainly not earlier.

Euboea: along with other characteristic FN wares it was relatively plentiful in Skoteini Cave at Tharrounia (comprehensively published in Mari 1993, 135-152).

Much of the Peloponnesian Pattern-Burnished ware is sufficiently different from the Attica-Saronic in style and shape to indicate a separate local tradition, but a few pieces (48:13,23) are similar enough to some Aigina examples to make a chronological link with the AgoraKephala culture probable. Whether all the Stroke- and Pattern-Burnished material assembled here is exactly contemporary is doubtful; some of the Stroke-Burnished may well be earlier; but the Early Phase of Period IV is broad enough to hold them all. That it continued up to the beginning of the Late Phase is shown by its occurrence on Rolled-Rim bowls at Kitsos and elsewhere, while its absence from sites in Attica like the Acropolis Grottos (Levi 1930-1931, 411-498) or Rizoupolis Cave (∞¢ 36, B2 (1981), 435), where no wares earlier than the Late Phase are known, must mean that it ended about this time (and compare its association at Franchthi with the Period IV heavy dark burnished ware: Jacobsen 1973a, 273, note 48).

Athens: Agora, pl.69, no.35. I noticed perhaps a dozen certainly Pattern-Burnished sherds from different wells, but it is difficult with some of the worn Agora material to distinguish Pattern-Burnish from the commoner fugitive White Paint. In many cases only the eroded, unburnished ghost lines remain to mark where paint may have been. Some of the patterns are the same. Some Stroke-Burnish also occurs in the wells; there is at least one pedestal like 48:28, but larger. Other sherds were found in the South Slope pits (Solomou 1964, pl.15 b), and the South Slope Italian excavations (Levi 1931, pl.XXVII v, dark grey). Asketario: (Theocharis 1954, 104) Thorikos: (Mussche 1965: figs.21,22; Spitaels 1982, figs. 1.5,1.5, 1.10, 1.11). Kitsos: (Lambert 1971, fig.22; 1972, fig.7), where the decoration is also found associated with Rolled-Rim bowls; Kephala (Caskey 1964a, pl.47 h,i; Coleman 1977, 40-43, Frontispiece. Cf. 40 A,B and 42 D to my fig. 48:25,24)). Pan Cave (Zervos, 840, pedestal with cut out triangle).

Crusted Ware The term is loosely applied to all forms of decoration employing a thick red or white crusty pigment, applied sometimes to a previously burnished surface, to which it adheres badly. It may also occasionally have been applied

Thessaly No comparable Pattern-Purnished ware has been published from the north to my knowledge. The Tsangli

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after firing. It was first classified by Tsountas in his description of the Rachmani ware, and he distinguished several varieties. Like Pattern-Burnish it is a variable technique with a wide distribution from Vinc¬a to Crete, and does not in itself denote direct cultural or chronological connections, although it does appear to represent a rough chronological horizon.

wall has a tendency to straighten towards the rim. They may have small strap handles. 50:3 from Franchthi is larger than any from Klenia, has a bevelled lip, and is perhaps local, but no doubt contemporary. 50:1 from Nestor’s Cave, is also different; it has a high black burnish and two well preserved hatched triangles in a thick white paint that stands out in relief. The sherd is unique, and perhaps less related to the north east Peloponnese than to the west coast: the paint and technique recall that of a red-brown piriform jar from Astakos (Benton 1947, pl.24:61). Remoter parallels might be sought in the North West Anatolian Chalcolithic. Klenia; Franchthi (Jacobsen 1973a, fig.9:2; pl.52 a, right).

There are two sorts of Crusted ware in the Peloponnese, neither of which are very common (cf. Jacobsen 1973a, 274; Franchthi 2, 68-70), which may be described as the Klenia and Lerna groups. The first I have examined in some detail, but the second I know only from the published reports and museum showcase inspection. I have only seen one or two pieces of the Franchthi unpublished material. Some fragments of bowls identical in all respects to those from Klenia turned up at Corinth in the 1968 North Building excavations, associated with Stroke- and Pattern-Burnished sherds, as well as other, earlier, material. An exceptionally well preserved rim sherd (C-75-246) found in 1975 on Temple Hill gives a good impression of how the ware originally looked.

O.B.Convex O 50:3,6,9; 95:12,13. 3 ex. 50:6, Black-Burnished, is the only one from Klenia. 50:9 from Asea is also Black-Burnished and has faint traces of red pigment in the surface cracks. Klenia ; Asea. O.B.Concave 1 50:8. 1 ex. This strikingly decorated rim probably comes from a large bowl similar to 50:3 but with a slightly concave upper wall. A large deep bowl from Levkas has a long straight to slightly concave side, and an elaborate spiraloid polychrome decoration on a red brown ground. Franchthi (Jacobsen 1973a, fig.9:3; pl.52 a).

At Klenia I counted some sixty to seventy sherds, fragmentary and badly preserved. All the identifiable shapes but one are small simple convex bowls or cups, the exception being a slightly larger closed bowl. They are unusually delicate and fragile. The fabric is medium to coarse, in spite of the thin walls. The colour of the clay varies from black to different shades of buff and light red, the latter being perhaps a little more common. The light coloured fabric is particularly porous in texture and friable. The surface is generally very smooth, and some of the black pieces were burnished. The walls may be as little as 1.5mm thick.

O.B.Concavo-convex 50:18 2 ex. This is a typical Period IV shape in other wares (54:5). The Lerna bowl is on a short pedestal with two small holes beneath the junction, and has a wide perforated lug. It was associated with a burial. Franchthi (Jacobsen 1973a, fig.9:1); Lerna (Caskey 1959, pl.41 d; Zervos, 337).

The very friable crusted paint is so eroded that few patterns were identifiable, and the overall white crusting has been reduced to a soft white icing-sugar texture which brushes off at a touch, leaving no mark on the burnished black surface. There appears to be a difference, at least where the evidence remains, between the treatment of the light red or buff and the black bowls. The former seem to have been coated overall, inside and out, with white or red or both, while the latter were decorated with white linear patterns alone, painted directly onto the burnished surface. The condition of many of the sherds and their variability make any generalisation impossible to confirm absolutely, but it is interesting that the same two techniques also occur in Thessaly (eg. Tsountas 1908, 244-249). See Franchthi 2, 68-70 for a detailed discussion of the techniques.

C.B.M. Convex 50:10,12,17; 95:5. 4 ex. Two from Klenia are like 50:12. 50:10 is from Franchthi, with an interesting parallel in the Klenia fluted bowl of 51:19 (93:1), and has a different, more globular shape. There is a squatter variation of 50:10 with 2 small vertically perforated lugs below the beaded lip from Kouveleïki A cave; it is Black-Burnished with white paint (Koumouzeli 1995, 58, fig. 17). Klenia; Franchthi (Jacobsen 1973a, fig.9:5); Lerna (Caskey 1958, pl.37 a). C.B. Straight This has the same bevelled lip as 50:3 from the same site. Jacobsen 1973a, fig.9:4. Jug 50:16. 2 ex. This vessel from Lerna has a small lip spout and high handle with, originally, two supporting struts and a conical knob on the top. There is a similar jug from Aria,. Fragments of possibly similar strutted handles occur in the Agora wells, as do knobbed strap handles. It provides

Shapes O.B.Convex 1 50:2,4,5,7; 95:4,7,8,11. 8 ex. This is the standard vessel. The walls are thin and the lip usually tapers outwards, sometimes inwards. The upper

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a useful chronological link between Thessaly (Rachmani: Weisshaar 1989, fig. 50:9) and Laconia (Alepotrypa) in the early FN period. Lerna (Caskey 1959, pl.41 b); Aria, 133, pls. 5, 18, 52:194; Alepotrypa (“unpublished examples in a Dirou Neolithic Museum showcase”: Aria, 133).

Corinth; Klenia; Franchthi; Lerna; perhaps Halieis; Asea; Nestor’s Cave, Ay. Dimitrios, Aria, and recently, Ydra (unpublished). Kephala Both red and white crusted and red over white crusted were found in small amounts (Coleman 1977, 10-11), although the bad preservation of most of the pottery and the friable nature of the coating might have affected the picture.

Lugs and Handles At Klenia I have only seen fine, small strap handles in this ware (50:11), not apparently on the rim. The vertically pierced lug from Franchthi (50:10) has parallels in other wares, Polychrome, Prosymna Incised, Black Fluted and coarse. The Lerna bowls have the lug, characteristically, low down on the belly, like the similar bowls in black or dark burnish from the same context (eg. 51:23) and from Kitsos Cave (Lambert 1972, figs. 20,22).

West Greece There are four fragments from Astakos (Benton 1947, 178; fig.10: 58,60,61; pl.24,28), but they differ from the Peloponnesian, except for the stylistic similarity referred to between pl.24:61 and the Nestor’s Cave sherd. The closed convex bowl (ibid, pl.28:60) is very like the Thessalian in ware, shape and technique, but the knobbed decoration on three of them seems to be local.

Bases and Pedestals Klenia bases are flat; 50:13, perhaps exceptionally, is sharply profiled. Low feet (50:16) and short conical pedestals, precariously small for the bowl they support, are typical Period IV traits in burnished and coarse wares.

A more important West Greek polychrome ware, known from Kokkini Spelia in Aitolia (Mastrokostas 1964, 295300), Astakos (Benton 1947, fig.10; pls.24,30, nos.3,5,9,10), Archondaria and Levkas (Dörpfeld 1937, pl.88 b and unpublished photos in the D.I), is not strictly speaking crusted ware and has no close parallels with anything in the Peloponnese or Thessaly, except perhaps for a sherd described by Tsountas (1908, 227; fig.122), and may well look northwards to Dalmatia. The technique, but not the style, has parallels in the Polychrome and Red-on-White from the Acropolis South Slope. Some of the ware, however, does have certain characteristics in common with the crusted sherds of the south. The spiraloid decorated bowl shown on Dörpfeld 1937, pl.88 b, now restored and in the National Museum, has a similar shape to 50:7; it was covered with a well burnished red slip, which was then covered with a thick chalky white slip, and over this the decoration was painted with what looks like the same clay mix that was used for the first slip. The white appears to have flaked off the rim and lower body, leaving the burnished red underslip exposed, but it is possible that these bands were deliberately reserved. Exactly the same process was used on Benton 1947, no.3, shown inside and outside on pl.24, and outside, in colour, on pl.30. Where the white has dropped off, no trace remains on the burnished surface.

Decoration There appear to be three kinds. The first has overall white or red crusting and sometimes a wide rim band of different colour (50:5; 95:2,3,7-10). Traces of red here and there on some Klenia sherds may be remnants of the second kind: a polychrome decoration of more elaborate design of which the only example known to me is 50:8 from Franchthi (Jacobsen 1973a, fig.9:3; pl.52 a). The third kind consists of simple white linear patterns on a black or dark burnished surface (50:6,7,12,13). There are traces of single or grouped and parallel horizontal, vertical and oblique lines, and crossing lines that may be part of a basketry pattern (eg. 50:13). 50:3 from Franchthi is of the first kind, but differs from the Klenia bowls in that it has a highly burnished brown surface with overall red crusting inside and a white rim band with traces of red below on the outside. There are other similar fragments. The Lerna group was found associated with two burials in areas HTN and JC, in the topmost Neolithic level (Caskey 1958, 136 f; pl.37:a,b,c; 1959, 205 f; pl.41:a,b,d). The three crusted bowls have a red or red-brown fabric. 50:18 has a thick white sugary encrustation with faint traces of deep red paint, a description which could also apply to the Klenia sherds. The other two had traces of a powdery orange coating. Other sherds of white crusted ware were found near the grave in JC. Cf. Aria, 132-135.

Central Greece Nothing comparable is known to me from this region, although it would be surprising if none existed. There are, however, other reasons for supposing that CorinthianBoeotian cultural contact was much less at this time than in the previous Period (see below).

Distribution In the Peloponnese crusted ware, and the orange powdery coated ware, which is a variation of it, are known from few sites:

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coarse wares (Jacobsen 1973a, 273). The Klenia and Lerna groups are different from each other and typologically unrelated. The first is connected by ware and shape to the Prosymna Incised and the Red PatternBurnished wares; the second is related to the AgoraKephala culture, by ware and shape, but not by decoration. Both groups should therefore be roughly contemporary, at least to the degree that both fall in the Early Phase of Period IV (Final Neolithic). The differences between them are perhaps explicable by their different origins. The Klenia group, on present evidence, is confined to Corinthia, and the fine ware and shapes suggest a local development. The second is an offshoot of the maritime coastal Attic-Kephala culture, whose own origin is no doubt partly foreign, and which has only limited influence in the Peloponnese, although the incised ware and scoop fragments from Halieis at Port Cheli (Jacobsen 1968, 145), which might have come straight from Kephala, show that these people voyaged as far south as the Gulf of Nauplion. If the publication of the Samos Neolithic pottery confirms the parallels with the Franchthi crusted bowls, it will be one more strand linking the eastern Greek coast with the islands of the Aegean.

Crete Crusted decoration is a feature of the latest Neolithic phase in Crete, but from what little I have seen in the publications it does not appear to be closely related to the Peloponnesian (Vagnetti 1972-1973). East Aegean Black-Burnished bowls with red crusting and a rim band, like 50:3 are said to occur at Tigani on Samos (personal communication by R. Felsch, who is publishing the material from deposits there). And mention is made by Butler (1935-6, 189) and Heidenreich (1935-6, 130; pl.64). A shape just like 50:16 was found at Tigani, with the same handle and knob, but no struts; the spout area is missing (D.I.Photo). Thessaly The Rachmani phase in Thessaly is characterised by decorated and plain, red or dark burnished wares, besides the coarse. There are different kinds of crusted paint decoration (cf. Tsountas 1908, 244-249; Wace and Thompson 1912, 17-18), which may not all be contemporary, but the shapes are relatively few. The commonest are simple open bowls like 50:2-4 (Wace and Thompson 1912, pl.IV; V; Milojc¬ic´ 1959, fig.20:2,4; Hauptmann 1971, fig.57c; Theocharis 1959, pl.II a). Other painted shapes include bowls like 52:2,4 (Milojc¬ic´ 1959, fig.20:8; and an unpublished tan and black bowl with a pink linear decoration like 50:12), very shallow convex bowls with slightly rolled rims, which are probably not connected with the Late Phase bowls of Grotta type, and are not found in the south; an inturned conical necked jar (Milojc¬ic´ 1959, fig.20:7) and a tubular handle (Wace and Thompson 1912, pl.12 2). Small knobs and perforated round lugs of Dimini type seem frequent. The elaborate spiraloid decoration is not found in the south, but the simpler linear patterns are, as are the plain wide rim bands (Milojc¬ic´ 1959, fig.20).

Painted Wares, not Crusted These are not characteristic of Period IV in the Peloponnese and, except perhaps for the Red-on-White sherds at Franchthi (see below), could well be disregarded. A few odd examples that can probably be attributed to this Period are listed here. White-on-Red Jar 50:15. This interesting vessel, which Mastrokostas kindly allowed me to use, came from the Akrata excavation (see p. 12). It is complete and unbroken. The fabric is orange red and it had a low burnish; there is one pellet on the shoulder, and traces of a once painted pattern can with difficulty be discerned here and there on the red surface. The combination of ware, shape and decoration make it most unlikely that it could belong to any of the first three Periods and such parallels as can be found are late. The rim has parallels in the Agora and the base is most characteristic there, although no whole profile is preserved there combining both these features. Round knobs are not typical but do occur; there is one below the rim of a shape like 54:7 (Agora P 13988). White painted decoration is typical at the Agora on open bowls and squat collar jars, and basketry patterns are common, as they are on the Pattern Burnished and incised wares. The marks of the pattern on the surface are so faint and discontinuous that it is possible the paint was of the crusted variety. The surface is somewhat worn and the surviving burnish has little shine left. Whatever the technique, it presents a very

There are specific similarities and differences in shape and technique between Thessaly and the Peloponnese and the same is true of the plain burnished ware (see next section), but the general impression of the pottery, as well as its relative position in both sequences, strongly suggests that the crusted wares in both areas are contemporary counterparts. Chronology and Summary No well stratified deposits of this phase exist in the Peloponnese. At Franchthi Crusted Ware occurs in the upper levels, which were subject to modern disturbance, along with a little Pattern-Burnished and the predominant

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similar appearance to many Agora fragments, and for this reason is tentatively placed in this Phase. Probably an import.

Faced with such a variety, and with the difficulty of grouping the material by surface colour or finish, which does not in general appear to be very diagnostic (see above), I have classified the material in the catalogue mainly by shape. Where a shape or trait is associated with a particular colour or variety of ware, it is stated in the commentary. But most of the wares and many of the shapes continue into EH I and it is often impossible to date isolated fragments or small collections. In this Period more than in earlier ones small details of rim or handle may identify a pot, and the significance of such traits in dating a body of material can only be evaluated by a statistical comparison with collections from known deposits. The problem is further complicated by the strong probability that some traits may be local and therefore of no help in assessing material from another area.

Red-on-White I have seen perhaps a dozen sherds altogether from Corinth and Gonia, all but one of which are minor variations of different Period III wares. The exception (C70-293) from Corinth, has a profile like 54:7, but with an outward taper to the lip that is unusual in the Peloponnese. The dark red paint on a cream slip is burnished overall (“good examples have a glossy finish”: Franchthi 2, 6768). The shape, paint and style of decoration bear no resemblance to the ordinary Matt Painted or Polychrome wares, and I have little doubt that it is an import, more probably from the West than from the East or the North. A somewhat similar ware occurs at Athens on the South Slope (Levi 1930-1, fig.30:31), which has nothing to do with Sesklo ware, as Levi had suggested, and at the Corycian Cave, cf. Touchais 1981, 144; fig. 25: 350; but it is rather a one-colour version of the Polychrome. A few sherds have also been reported from Ydra. That pottery, however, is different in its shapes and decoration from the Corinthian sherd.

The shapes and traits assigned to the Early section are firstly those that are typologically the same as or close to Late Period III shapes; secondly, those typologically similar to known decorated wares or foreign groups, such as the Agora, which are considered to be Early IV; and thirdly, shapes not found in pottery assemblages, local or foreign, transitional to EH I, which are therefore considered to be Late IV.

Jacobsen reported the presence of a hundred or so sherds of Red-on-White from the same upper levels at Franchthi as the Crusted and Pattern Burnished (1973, 273 n. 48; Franchthi 2, 67-68; 74-75, etc). Pending the publication of fuller details, this ware must remain a pleasing enigma. A possible explanation is that it belongs to the same group of wares as the South Slope material just mentioned, and the West Greek Polychrome, which I would put in a phase immediately preceding that with Crusted ware, and which may not be stratigraphically differentiated at Franchthi. To this group of wares belongs a bowl from Pan Cave, Marathon (Zervos, 828), now restored. It is very worn, but the red painted decoration on a white slip, which is overall burnished, may have had a black margin, like some of the South Slope Polychrome.

Early Phase Shapes. Figs. 51-53 O.B.S. and M. Convex 1 51:1,2,8; 93:1. This is a characteristic shape, which continues into EH I, but not with the handles illustrated here. It occurs in all fabrics and sizes. 51:1 from Klenia is like the Incised 47:8 and no doubt contemporary. Exactly the same shape with a similar but not identical handle is standard at the Agora, red burnished and white painted. 51:2,8 both have AgoraKephala type handles. Klenia; Franchthi (Jacobsen 1973a, fig.8:4,8); Alepotrypa; Agora (pls. 3; 68:31; many of these in fact have similar rim angles to 51:3); Kephala. O.B.S. and M. Convex O 51:7.13. These are probably rather less common than the previous in the Early Phase. 51:7 has an unusual high knobbed lug on the rim, which has parallels in the Agora and at Kephala.

Monochrome and Coarse Wares These constitute by far the largest bulk of the material in Period IV (FN). The fabric ranges from fine to coarse, and in colour from black to red, with every shade of grey, brown, tan and buff; red colours are the commonest even when the surface is dark. Surface colours have the same range as the fabric, but brown, dusky and mottled are commonest, with red next. Some degree of burnish is usual, but even small relatively fine pots may have a rough slurry finish. Pure black is the least frequent colour, and is associated chiefly with collar bowls and pedestal bowls.

C.B.M. Convex 51:3,6,11,15; 101:7,8,10. A typical Period IV and EH I shape in fine and coarse wares. The knobbed handles of 51:3,6 are distinctively Early Phase. C.B. Straight, Narrow. As 14:15 but more closed. Sakovouni, Tripolis Museum. Blackish brown. Four vertical lugs below the rim. Spyropoulos 1991, (no page or figure nos.).

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C.B. Deep 51:4,10,14,16; 101:9,12. A variation of the previous with straighter upper walls. The lugs and handles on those illustrated are typical Early Phase. Corinth; Klenia; Alepotrypa; Franchthi (Jacobsen 1973a, fig.8:5,6,10).

Collar Bowls 53:1-9; 96:6. Large heavy collar bowls are relatively common; most are black, but a few are red-brown and black and tan. Some forty fragments were noted from different sites. It is a distinctive if variable form with close antecedents in the Late III Grey and Black Wares (eg. 29:9). Typical Period IV ware, however, is quite distinct from the Period III Black Ware, being heavier, coarser and having larger grits. The difference is less obvious in the case of the finer sherds, but their characteristic glossy burnish is more conspicuous than in the previous Period.

C.B.S. Short Concave Rim 51:17,18. Perhaps a development of Shoulder Bowls like 27:16. There is a red burnished bowl from Klenia like 51:18, with a vertical welt. The ware and the occurrence of the shape in the Agora, though with different plastic decoration (unpublished), suggest that these are Early Period IV. Klenia; Lerna; cf. Kephala.

Their chief feature is a slightly thickened shoulder and offset collar. The latter is generally vertical or everted, and straight or concave; the lip is often slightly tapered. The collars are frequently broken at the neck, where the wall may narrow suddenly. Some have a distinct step at the neck (53:8), but 53:1 is a unique variation. Fluted decoration on the shoulder is common. None appear to have lugs or handles.

Neck Jar 51:19; 93:1. The shape occurs in Crusted ware at Franchthi (Jacobsen 1973a, (Mussche 1965: fig.23); Samos (Furness 1956, fig.8:6-8). O.B.M. Carinated, Concave O 52:8,9; 93:8. Both are typical at Alepotrypa in dark or red-brown mottled. This fact and the handle of 52:9 make them unlikely to be Period III. The shape is not found in the Agora, and affinities with the Anatolian Late Chalcolithic are more general than specific. The closest parallel is a bowl from Kitsos (Lambert 1972, fig.20) which has a smaller more tubular lug. A similar rim was noted at Lerna. It is not found associated in deposits with RolledRim bowls and it seems therefore to belong more properly to the Early Phase. 52:9 is illustrated by Hauptmann (1971, fig.54 g), but the lug is not as bevelled and waisted as shown there.

The shape has been recorded from Corinth, Klenia, Franchthi, Lerna, Alepotrypa (Hauptmann 1971, fig.54,f = 53:9; 96:6); and perhaps a rim from Kionia is from such a bowl (Howell 1970, fig.2:33). I saw none from Gonia. A number of fragments come from the Agora Wells, Black- Burnished and fluted (Agora, pls.6; 69: nos.70-76) and plain red burnished (pls.4; 68: no.48), as well as from Eutresis (Caskey 1960, fig.4; III, 10). The BlackBurnished bowls from the Agora are virtually the only black material present at that site and thus very conspicuous in their context. They are most probably imports. Similar shapes in Thessaly are attributed to the Larissa phase (Volos museum, unpub.).

O.B.M. Carinated, Straight O 52:7. Smaller, similar, but more closed profiles at the Agora show that this shape exists in the Early Phase, but not, to my knowledge, in the Late. This is the only example.

Lugs and Handles These types can all be placed in the Early Phase by their occurrence on other wares of the same Phase or at the Agora and Kephala, although some of them (e.g. 51:13,14,28,29) are also found earlier and later.

C.B.S. Shoulder, Concave 52:3. A more closed version of 52:1 and also from Akrata. The indented or waisted lug is a common Period IV type, which first appears at Prosymna in Late III (Blegen 1937, fig.625). A similar shape from Aigina has traces of a red powdery coating inside, and it has been noted in the Agora.

Lugs Plain lugs are not very diagnostic. Straight and indented ledge lugs (51:10,29) and vertical lugs (51:11) all occur in the Agora. 51:25 looks like a solid version of a typical Agora handle. Horizontal and vertical tubular lugs, as well as double ones (51:22) occur at the Agora (pl.2: no.11) and Kephala. Horse-shoe lugs like 51:21 are also common at those two sites, where more elaborate variations exist, but they are less common in the Peloponnese. I only know of 51:21 from Corinth, one from Franchthi (Jacobsen 1971, fig.8:3) and perhaps one from Kionia (Howell 1970, pl.34 b: 11) and one from Kastria Kalavryton (Mastrokostas 1968, pl.155 b). The

C.B.M. Shoulder, Concave 52:6. This Phlius bowl (Biers 1969, fig.3:37) with two (or more) vertical ribs, has general parallels at the Agora (Agora, pl. 69:175: where the angle is not quite correctly drawn) and Kephala; also perhaps at Thorikos (Mussche 1965: fig.25: where the lug on the rim looks very East Aegean). Such vertical ribs are found in the Agora, but on different shapes (Agora, pl.4:33,34).

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tapered or elephant lug is one of the most characteristic of this Phase; there are a number from Corinthia in plain and other wares (49:3; 51:2; 53:5), Franchthi (Diamant 1974, 76; Franchthi 2, fig. 68 h; Koufiero Cave (Zachos 1987, fig. 35:2) cf. Agora, pls.13; 69: no.196; Caskey 1964a, pl.47 b.d. Square, horizontally perforated lugs like 51:23 (cf. Holmberg 1944: fig.37 d) belong here, and perhaps later as well. A variation (51:4) was noted at Corinth and Argos. The high spurred lug of 51:7 is a variant of the usual spurred lug, with parallels at Kephala (Coleman 1967, pl.XXIV4c, without the knob) and perhaps the Agora (Agora, pls. 9; 69: no.169), which is lower.

Early and /or Late Phase Shapes. Figs. 54-55 The shapes and traits described in this section either are common to both Phases or cannot be convincingly attributed to one rather than the other. O.B.S. Convex 3 54:2,4. The very shallow convex form is not common and probably belongs to pedestal bowls. 54:4 from Argos has a dimpled lip which can be regarded as a late variation of the Grey Ware lip or as a variation of the EH I scalloped rim. 54:2 with the perforated lug below the rim is from Alepotrypa. Similar lugged bowls are also found at Perachora (cf. Fossey 1969, fig.5:19), a parallel that might be thought to place this sherd in the Late Phase. Argos. Alepotrypa.

Handles Small strap handles are used on the Pattern Burnished, Prosymna Scratched and the Crusted wares. Medium sized handles are generally common (52:1,13,15; Blegen 1937, fig.632:1) in all wares. Most characteristic of this Phase are the spurred strap handles in all sizes so common at the Agora and Kephala, (51:3,6,16,20). 51:26 (cf. Jacobsen 1973a, fig.8:4) is a variation with a parallel at the Agora, and with higher spikes at Kephala (Caskey 1964a, pl.46 h) and the Kitsos and Rizoupolis Caves. The small spiked handle 51:8 also occurs at the Agora and Kephala; something similar is illustrated from Perachora (Fossey 1969, fig.6), and it is a common East Aegean type. 51:30, from Alepotrypa, like 60:11 (101:5,17) has parallels at the Agora in fine and coarse wares (eg. Agora, pls.4; 68: no.47; pls.13; 69: no.189), although these are typically concave backed. There is little at Alepotrypa which can be linked to the Agora-Kephala culture, and it is debateable whether these two handles reflect northern influence or are a local creation.

O.B.S. Convex 2 54:1,3. This shape is found in all Final Neolithic and EH I deposits, in black and red burnished wares. There is one from Portes Patron (BSA). O.B. Convex 1 54:6. Another long-lived shape. There are two from Portes, black and dark burnished. O.B.M. Straight 1 54:7,15; 97:1. The open conical bowl is common in all wares, especially the coarse. With a tubular lug it is characteristic of the Late Phase (q.v.). 54:7 is one of the few fine ones. Another slightly thicker, black out and black and tan in, comes from Portes. One from Ay. Strategos in Laconia has a typical Agora tapered handle (Waterhouse and Simpson 1960, fig.15; pl.19 a: 3). The wide tab handle of 54:15 could well be Late, but similar tabs occur at Kephala, Kea (Caskey 1964a, pl. 47 f) and Eutresis (Caskey 1960, pl.56: II 28). One is published from Kokkora Troupa in Messenia (McDonald and Simpson 1969, 168; pl. 46:N 1); this is almost certainly not Early Neolithic because of the shape, although the fabrics can sometimes be hard to distinguish).

Scoops The term has been given to the curious, incised, obliquemouthed vessels on low pedestals, with a wide basket handle that forks in two at the back, best illustrated in Tsountas 1908, pl.16:3 (Agora, pl.8). Many fragments were found at the Agora; at Kephala they represented over 30 different vessels (Coleman 1977, 16-17), and the shape, with its incised decoration, may be taken as the Leitmotif of this culture. There is remarkably little evidence for them in the Peloponnese. I know of only two or three certain fragments from Corinth (from Temple Hill and the 1940 excavations; for the latter I am indebted to Dr. Lavezzi), and the small deposit from Halieis, which has a Carbon-14 date of 3152 BC (Jacobsen 1968, 145-8). The heavily incised and grooved decoration is well illustrated from the Agora; the motifs include the impressed chevron band used on the Akrata bowl (94:3).

O.B.M. Convex O 54:9,12. This is not as common as the more open or closed shapes. 54:12 is a fine cup with an upcocked handle. Coarse perforated rim bowls have a wide distribution from the Agora (pl.69, no.188) to the islands: Kea (Caskey 1972, fig.1:P3; fig. 2:A15). The shape occurs at the Agora in finer wares, but is more typical of later deposits (Rizoupolis cave, Acropolis Grottos) and especially EH I (Fossey 1969, figs.3; 5). O.B.M. Shoulder 1 54:11. The only example I know; from Alepotrypa.

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Platters 51:5,9,12. These wide flat-bottomed dishes may be Early or Late. Shapes like 51:5 occur at Kephala, and there is one like 51:12 from Phlius (Biers 1969, fig.3:33; the rim is in fact more like 51:12 than as drawn), and Kephala. 51:9 is different and has a sloping rim, but it is in fine red-buff burnished ware and is not a baking pan.

Collar Jars 55:1,2,4,5,6,10; 59:2; 98:2. Collar jars of all sorts are common in Period IV and there is no way to date many of them to a particular Phase. These are all from Alepotrypa except for 55:5 and 59:2, which are from Klenia. There are rough parallels for 55:46 at Kephala and Kea (Caskey 1964a, pl. 46 h). 55:10 is very like Agora, pls.2; 68: no.11, which has twin lugs like 29:22. Rims like 55:4,6. are also found in EH I (Fossey 1968, fig.2:4).

Anthropomorphic Mug. Shape as 56:17, but with concave-section strap handle instead of a lug, combined with plastic decoration. Three circles give the impression of two eyes and a mouth. Alepotrypa (Papathanasopoulos 1996, 218, no. 21; Demakopoulou 1998, 87, fig.145).

Baking Pans

54:16.

These flat coarse vessels are characteristic of the Final Neolithic and EH I Periods and have a wide distribution all over Greece and the Aegean. Their function is hard to guess: they do not appear to be hearths, and yet the wide diameter and the sometimes relatively thin flat base would make them difficult to transport. More often than not they have a row of small holes around the rim. From the impressions on the base, this pan, like others, was clearly made on an earth floor and possibly fired there (cf. Caskey 1972, 366). The perforated rim on large bowls or jars presumably served to lash on a cloth or skin cover, but that hardly seems to explain the perforations on some of the pans. Other suggestions include fermenting, curdling, and cheese-making (cf. Weinberg 1954, 95). There are identical pans at the Agora and Kephala (Coleman 1977, 37). Fragments were noted at Klenia, and cf. Asea (Holmberg 1944: fig.57 c), which may be EH I. None were reported from Ay. Dimitrios (Zachos 1987, 71).

Concave Sided Mug 54:5. This is in the same ware as the other Akrata bowls (52:1,3). Neither shape nor handle match the EH cups, and it is probably Early IV, although the handle might put it in the Late Phase. Carinated Mug 55:7. The off-white fabric is like some Matt Painted fabrics, but not those from Alepotrypa, where it was found. The surface is worn. The general form is not unlike the more rounded 60:5: which has a more conventional handle. It can in any case hardly be earlier than Period IV. Closed Convex Mug 54:14. This is from Ayioryitika and has no exact parallel. The shape and the handle are found at Klenia, and the combination of handle and decoration has parallels in the Peloponnese (cf. Jacobsen 1973a, fig.8:1) and at the Agora, although the latter is slightly different (e.g. Agora, pl.11:160). Handled mugs also occur in EH I, but the shapes are different (cf. Caskey 1972, fig.3:13,36,37).

Miscellaneous 55:9. Two of these were noted at Alepotrypa. The fabric is very coarse and dense, with large grits, and a pale brick colour. The walls are unusually thick and they have a small tab on the rim with a hole beneath. The rough inner surface has flaked away to show orange-red on the lower half, with black patches on the upper. The ware is unlike any other, and in one of the two (55:9) there are traces of a greyish deposit. What they were used to process we cannot tell, but it clearly involved heat.

C.B.M. Convex 54:10,13,17; 97:2; 100:8. These occur in all wares from fine to coarse, and all sizes. 54:10 is a fine ware bowl typical of a number at Klenia. The thickened and tapered rim of 54:8, from Klenia (cf. the painted and scratched 47:33), is one of several noted from that site and has a close parallel at Paoura on Kea (Caskey 1972, fig.1; pl.76: P8). 54:13 is similar to some Agora bowls, also with plastic decoration (Agora, pl.11, nos.158, 159, 164). 54:17 (97:2) is fig.38 c from the Asea publication; it could be from an earlier Period, but the lugs and ware seem to me more characteristic of IV (cf. Forsén 48, no. 6: “EN”). Sakovouni, like 54:17 but more of a shoulder; pedestal like 55:24, no lugs or handles (Spyropoulos 1991; 2000, p.9).

Spouts 55:11. These are almost unknown in Peloponnesian Neolithic. I have only come across this one from Alepotrypa, and a small one in Grey Ware from Corinth. There are some at Kephala, however. Lugs The usual various plain lugs are common in both phases: tongue lugs (55:13), ledge lugs (54:9) and flat-topped knobs (51:28); there is a perforated version of the latter from Klenia (55:12). Vertically perforated lugs are found throughout the Neolithic and into the Bronze Age. Square ones like 54:17

C.B.M. Straight. Shape as 14:15, more closed. Sakovouni, Tripolis Museum. 1) Dark brown; four vertical tubular lugs below the rim. 2) Similar, but one tubular lug. Spyropoulos 1991. See Appendix B, Sakovouni, for photo.

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were noted at the Agora. Tubular lugs are general, although not especially common (55:10).

Agora (Agora, pls.10; 11). A study of the frequency of the three kinds at different FN sites might be interesting. There is little use of pellets for decoration, but a few examples were noted at Alepotrypa: twin round pellets, like those from Prosymna (Blegen 1937, figs.635:9; 632:2), also known from Levkas; and twin dimpled pellets like 48:18. The latter occur on a Red-on-White Slip bowl from Pan Cave in Attica (Zervos, 828), where they are set opposite the handle.

Handles Strap handles of all kinds are usual, especially on heavy jars (55:8; 59:2), where they are often combined with cordon decoration. The upcocked handles of 54:12,14 may be Early or Late; they are close in style to some EH handles. Tubular handles like 101:3 are not common at Alepotrypa, and may be Late there. Identical handles are found at the Agora (e.g. pl.12: 171, 172), in the Acropolis Grottos and the Rizoupolis cave; at the last two sites the associated pottery is Late Phase.

Impressed Cordons 61:1,5,6; 101:1-3,6 A half round or occasionally triangular strip is impressed more or less deeply, using a round or oval tip, perhaps a finger. This is almost universal. A variation is impressed obliquely to produce a rope impression (61:8; 100:7); it is not common and is distinct from the well known EH cordon. I have seen no examples of this from Alepotrypa, but they may well exist in the vast amount of material excavated by Papathanasopoulos since. The few pieces published from Kouveleïki A cave are all impressed (Koumouzeli 1989, 155, fig. 13).

Rims A new feature now is the occasional appearance of rims with rippling (56:4) or indentations (piecrust rims: Franchthi 2, figs. 44 j; 68 b). Rim decoration is a feature of the EH period Bases The coarse wares have a great variety of bases, including flat (54:15), concave (55:15,17,21,22), a low foot (55:16; 101:23), a ring foot (55:19,26; 101:31), and a narrow solid foot (55:18). All these are found at the Agora and Kephala. Ring feet are very frequent on large coarse vessels, to which they no doubt gave some stability when slightly embedded in the earth floor (cf. Jacobsen 1973a, fig.8).

Wider bands with two or three rows of impressions on the wall, or forming part of a thickened rim, are found at Klenia, Gonia, Prosymna, Argos and Alepotrypa. Their presence at Gonia and in the Prosymna Polychrome deposit (Blegen 1937, fig.626:7) suggests that this rather uncommon decoration may occur at any time. Similar bands are frequent at the Agora, but with the local incised decoration at that site is not found in the Peloponnese. (61:10-12; 101:7).

Pedestals 55:20,23-25; 101:22,24,25. Low pedestals are commonest on medium and large coarse pots. Some are perforated on opposite sides by small single holes (55:20; 101:22), or by pairs of holes as on 50:18 (not visible in the sketch). Both practices are found at the Agora (Agora, pls.2; 68:no.16) and Kephala (Caskey 1964a, pl.47 f). Medium (55:24,25) and tall (55:23) pedestals, although less common, are not rare. I have seen a complete small pedestal with rectangular cutout decoration from Alepotrypa (Daux 1962, 724; fig.4). Medium to high pedestals are common at Kephala but not apparently at the Agora. Some have small cut-out triangles, and are characteristically convex in profile (Agora, pls.5; 68:no.56).

Slashed Cordons 60:10,13; 61:3,8; 99:7 Cordons with vertical or oblique slashes, probably mimicking the lay of a rope, are common at Asea and Alepotrypa, but not at Klenia or in the Agora-Kephala group. They differ from the common Early Helladic cordons, which are much neater and sharper in execution, more oblique, and often grouped together. Slashed and plain cordons may also occasionally occur together. They seem to be basically Late. Plain Cordons 57:1; 60:4,6,7,10,14; 99:1,2,4,5,10,11,12 The strips may be half round or triangular in section. They are found at most sites where Final Neolithic is known: Corinth; Kionia; Klenia; Franchthi; Lerna; Sakovouni; Kamenitsa; Kouphovouno; Alepotrypa; Koufiero, to mention a few. They continue throughout Period IV, but it is uncertain whether they survive in the same form into EH I. They may be taken as characteristic of Period IV, and especially of the Late Phase.

Plastic Decoration This is common on coarse ware pithoi, jars and some bowls. It seems to have been well established at least by Period III Late Phase, if the evidence from Prosymna can be trusted (Blegen 1937, fig.626), and it continues into EH I. Certain chronological differences are detectable, and more would no doubt be apparent if more stratified material were available. The plastic cordons are of three kinds: impressed, slashed and plain. The impressed seem to have been the earliest, but by the first half of Period IV (Final Neolithic/LN II) all three kinds were in use at the

Patterns The impressed cordon decoration is generally simple and may comprise no more than a single horizontal cordon around the rim or belly of bowls and pithoi (57:2; 60:1;

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100:7); there may be several equally spaced cordons circling a large pithos like Asea fig.62 c; and horizontal and sometimes oblique cordons can be attached to handles (54:14; 59:2; 100:6,9,10; Jacobsen 1973a, fig.8:1). There are more elaborate patterns at Asea, like those with plain cordons (ibid, figs.61 c,e; 78 a,g), and Ayioryitika (100:6). It is not certain that Asea figs.61 a; 78 g are Neolithic, but it is probable, since groups of impressed cordons are found at the Agora (Agora, pl.11, no.169), and Kitsos (Lambert 1971, fig.23).

were found there at the time of its discovery, more or less intact on the cave floor. These are assumed to belong to the latest occupation and therefore to the transition phase. Other types that may belong to this Phase have been cited in the previous section. Not too much material of this Phase is known at Corinth, and it comes from mixed deposits that usually include EH material. At Klenia there is a fair amount, but it is much more fragmentary than at Alepotrypa. There is some from Kouphovouno, but also much of what I consider to be early EH I, so I have avoided using that material in general. The same may be said for the small group from the cave of Kamenitsa. There is a considerable amount from Franchthi, but I have not seen it. It may be expected to include fragments with Attic and Aegean affinities.

Incised and Plain Cordon patterns are similar. Apart from a few simple ones like 60:6, they are used to form more elaborate designs. The majority are skeuomorphic imitations of rope slings and nets, such as would have been used to transport the large pithoi. This is well illustrated by two large fragments of such pithoi from Asea (figs.60 a; 60 b); the first shows a sling tightened around the vessel, the second a sling slackened off so that the rope bands hang in loops over the belly. Most cordon patterns are variations of the first, sometimes schematically rendered. Fragments of these are shown on 60:7 (Asea fig.82:4); 60:4,10,13,14; 99:1,2,4,7,10-12 from Alepotrypa, where there are many more. Another widespread but not frequent theme is the spiral or volute, single or double (99:8,9).

The colours and fabrics are the same as before. Bowls are black, dark, mahogany, red-brown, red or mottled, and burnished. They are often slipped. The fabric is dark to red, red being commonest for the heavier vessels, which may be low burnished, smoothed or rough. Open Bowls These are very common at Alepotrypa in all forms, from shallow to deep, and all sizes from tumblers to large storage pots.

Plastic decoration on coarse ware is so universal at this time that it cannot by itself be used to demonstrate close chronological relationships: one need only cite Levkas in the northwest (Dörpfield 1937, pls.84; 85) and Samos in the northeast (Heidenreich 1935-6, pl.44). It is found from the Late Chalcolithic (Kum Tepe Ia) to the Early Bronze Age (Samos Heraion and Thermi). Spiraloid motifs are known from Levkas (Dörpfeld 1937, pl.85 a,b), the Agora (Agora, pl.10, no.153), Palaia Kokkinia (unpublished), Aigina (unpublished), Thessaly (Tsountas 1908, figs.178; 179), Saliagos (Evans and Renfrew 1968, pl.XXXVIII b) and Thermi (Lamb 1936, pl.XVII c). The last two references well illustrate the chronological as well as geographical range of plastic spiral decoration.

O.B.S. Convex 2 56:1. There are several of these from Alepotrypa, with a dark red, mahogany to black, or all black, burnished slip. A significant feature, noted only on two or three examples, is the slightly flattened lip (e.g. 56,16). This is never found on earlier bowls, apart from unrelated Matt Painted types, and almost certainly marks a transition step towards the highly characteristic EH I lip, which is wider and more sharply cut-off (e.g. Fossey 1969, figs.3;4, passim). O.B.M. Convex 1 56:3,4,6,17. This is commoner than the previous. A few have the same slightly flattened lip. One rim (54:4) has a series of shallow oblique incisions on the lip; there is one like it from Ay. Dimitrios (Zachos 1987, 62, fig. 19:4/81). This is no doubt also a transition feature towards the characteristic EH I incised flat lip, well illustrated at Palaia Kokkinia (Theocharis 1951, fig.17) and widely found. Forsén 1996, p. 56, no. 51, mistakenly attributes to me its designation as a Rolled-Rim bowl. The lug on 54:17 is perhaps a local and certainly a Late form of tubular lug. 56:3 from Klenia has a swollen rim, found also at Corinth, and perhaps related to the rolled rim.

Late Phase Shapes. Figs. 56-60 Introduction I have used the appearance of Rolled-Rim bowls of Kum Tepe Ib type to mark the conventional beginning of the Late Phase. This is believed to coincide roughly with the ending of the Crusted and Pattern Burnished wares, although in practice some overlap is probable (see below). Other bowl forms are considered to belong to this Phase because of rim, handle and lug features that are associated in deposits with Rolled-Rim bowls, but are not found in the earlier Agora-Kephala group of pottery. Except for the Rolled-Rim bowls, most of the material is taken from Alepotrypa, where the latest transition is best represented. A large number of coarse bowls and pithoi

O.B.M. Convex 0 65:5 A common shape, and equally so in EH I (Jacobsen 1973a, fig.8:16)

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O.B.D. Convex 1 56:7,14; 97:4,5. Deep bowls with straight to slightly convex sides are perhaps the commonest forms at Alepotrypa. A slight foot is usual. Small ones could have served as tumblers. The tiny lug on 56:14 may be regarded as a vestigial tubular lug of 56:10 type, or as a fore-runner of the characteristic EH I spool lug (e.g. Holmberg 1944, 64 b).

Macedonia a similar form was popular from the Middle Neolithic onwards in various wares, and the shape by itself has no great significance unless considered within a certain geographical and chronological context. The Greek and Cycladic bowls, because of their similarities in ware, shape and handles, may be taken as belonging to one horizon, albeit a broad one (discussed under Conclusions and Chronology below).

O.B.M. Straight 1 56:2. The shape is common, but the thickened tapered rim is unique at Alepotrypa, although shorter versions occur at Klenia and Corinth.

Peloponnesian Distribution Corinth; Klenia; Lerna; Khotoussa-Ay.Yeorgios (Howell 1970, pl.27 a:2); Levidhion-Ayiolias (ibid, 107); MileaAy.Nikolaos (ibid, pl.30:1); Dhavia-Kastro (ibid,pl.35 a:1); Alepotrypa; Koufiero-Flesiada (McDonald 1969, pl.46: N2) and Ay Dimitrios (Zachos 1987, 119); Lerna, but not Franchthi (Franchthi 2, 104 n.7) or, so far, Kouphovouno. To the lists cited above may be added one or two new sites: Archondaria (Akarnania: unpublished); Acropolis Grottos (Levi 1930-31, fig.50, q.v); Rizoupolis Cave (Athens) unpublished, from a number of bowls, including one complete and restored, now in the 3rd Ephorate: ∞¢ 36, 1981, B1, 435; Papathanasopoulos 1996, 268; Kitsos Cave (Lambert 1972, fig.21); Aigina (unpublished); KeaPaoura (Caskey 1972a, fig.1, p2).

O.B.D. Straight 1 56:10,18; 96:11; 97:3. These are coarse and burnished. 56:10 (the profile is slightly more open than drawn) is typical of a class of burnished, more or less straight sided bowls with tubular lugs or handles of the sort found on Rolled-Rim bowls, with which they should probably be associated. They are found in central and eastern Greece and also on the neighbouring islands: Eutresis (Goldman 1931, fig.114:1; Caskey 1960, fig.4:II 29); Athens (Hansen 1937, fig.2a,b; French 1964, fig.9:4,5); Kea (Caskey 1972a, fig.2; pl.72, A14). Rolled-Rim Bowls 56:8,9,11-13,15,16; 96:1,2. These are variable in form, being straight or convex sided, and black, dark brown, tan or red brown. They often, but not always, have a tubular lug or handle below the rim. The rim itself may be only slightly thickened; some Attic and Thessalian rims, but none known to me in the Peloponnese, have lightly rippled rims, and others shallow oblique grooved decoration (eg Hansen 1937, fig.1c,d; French 1964, fig.9:1,3 - decoration omitted on 9:3 drawing; Tsountas 248, fig.150). I only noted two at Alepotrypa, one of which (56:16) has an atypical hooked rim, evidently a not unusual variation, since there are two small similar rims from Corinth and one from Klenia, and two more from the Acropolis Grottos, which also have EH material as well as the ordinary rolled rims. There are several rims like 56:12,13 from Klenia and an atypical one from Ay. Dimitrios (Zachos 1987, 64, fig. 20:41/81). 56:12 is from Lerna, where there are others (Renfrew 1972, fig.5:3, 12,13). Four are published from Koufiero Cave, three with shallow rippling on the lip and one with an elephant lug (Zachos 1987, 108, fig. 35:1-4); it is interesting that they all have affinities rather with Attica than the Peloponnese. 56.15 is unusual: the profile and decoration are normal, but the fine incised lines are filled with red and the wide handle or lug (at least .060 m), only partly preserved, merges into the wall in an unusual manner.

Large Coarse Vessels The great quantity of large, heavy-walled vessels, plain or cordon decorated, is a characteristic of Period IV. They are common on all sites of the Period, but are particularly abundant at Alepotrypa, a phenomenon not unconnected, perhaps, with the rather special aspects of cave habitation in general and the deep freshwater lake at Alepotrypa in particular. The shapes may be divided into three broad classes, which no doubt reflect the different functions of storing, preserving and transporting liquids and solids of different kinds. The first class comprises deep, widemouthed pithoi like 57:4 (98:4). These are the vessels most frequently and elaborately decorated with rope sling and net skeumorphs, and they commonly have perforated rims. The latter must be for lace-on covers where a tight seal was required, and the rope decoration surely implies that they were at times transported from one place to another. The shape was not, one would judge, designed primarily for holding or carrying water: those of the next two classes are much more suitable. But what victuals they contained, where they were transported, and for what purpose, remain an interesting field for thought and speculation. The siting of the cave above a relatively sheltered and sandy beach, halfway along the coastal route between the Aegean and Adriatic seas, as well as the presence of a fair amount (by Neolithic standards) of copper and silver artefacts, suggest a number of possibilities, which are beyond the scope of this study.

The ‘Kum Tepe Ib’ bowl has a wide distribution across the Aegean and onto the Western Anatolian plateau (French 1961, 104; fig.2; Renfrew 1972, fig.10:6). In

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The second class of large vessels are the hole-mouthed jars like 59:6: a type little encountered in earlier Periods. The third class comprises the collar and neck jars. There are also other types that do not fall into these three classes.

Wide Collar Jars 59:4. There are a number of similar rims at Klenia, and the shape occurs in EH I (Fossey 1969, fig.4:16). Collared Pithoi There are several complete pithoi from Sakovouni in the Tripoli Museum. One has a body with the shape of 57:4 and collar neck of 59:5, on which are set four strap handles topped by flat spurs. It has a skeuomorphic rope sling decoration of plain cordons. Another is slightly smaller and squatter with a similar collar and four small handles mounted just below the collar, incorporated into an elaborate pattern formed by finger grooves. Spyropoulos 1991 (no nos.); 2000, 8-9.

Wide Mouthed Pithoi 57:1-4; 60:1,4,7,10; 98:4; 99:1,2,4,5, 7-12. The shape of most of these rim fragments was probably like 57:4, but its walls are unusually thin and the surface is better smoothed than on most. Some are much larger than 57:4. Perforated rims and complex plastic cordons are usual. This shape is typical of the Late Phase, and may extend into EH I. The equivalent vessels from the Agora and Kephala are rather different (cf. Caskey 1964a, pl.46:1). This is the shape of the large Asea pithos in Holmberg 1944: fig.62 c.

Bucket Shapes 60:2,3; 101:16. Large open vessels are rare at Alepotrypa, but vertical sided pithoi are common at the Agora, with the local incised band decoration, and cf. Caskey 1964a, pl.46:1.

Hole Mouthed Jars 59:1,3,5,6. These are characterised by narrow mouths and straight or concave upper walls. The form of the complete vessels is uncertain, but probably deep. 59:1 is the only wavy rim noted at Alepotrypa. They may have perforated rims and simple cordon decoration. They are common, and smaller than the pithoi. They occur, rarely, at the Agora.

Miscellaneous 59:8 from Argos is stratigraphically uncertain, but thought to be Late Phase because the ware, rim and lug all occur at Alepotrypa and Klenia, and I know of none very like it from an EH context. 60:15; 98:1 are typical bodies from two different types. There is little standardisation among the coarse ware vessels, and they could be restored with several different tops.

Wide Mouthed Jars 59:7. The upper wall is concave. Such rims are not common; there are a few similar fragments from the Agora, where a square flat lip is more typical than at Alepotrypa. They may have a wavy rim, which, though on different shapes, is also an EH I trait, and found at Kandhila (Howell 1970, fig.2,25; pl. 27c,7), Kouphovouno and Nestor’s Cave.

Lugs and Handles Plain ledge lugs are always common, but wide ones like 60:3 should be late, since they are not found in earlier contexts but do occur in EH I. 60:6 is unique. Simple vertically pierced lugs like 60:15 are not diagnostic. Indented lugs like 56:14 and 57:4 were in use much earlier, but 56:14 is approaching the EH I spool lug. Tubular lugs are common in the Early Phase, but they are either short and stubby (51:14,22) or longer and slightly convex (52:1). The Late ones are longer and either cylindrical or slightly waisted and may have lightly bevelled ends (56:10,13). Tubular lugs of this kind are widespread further north and in the islands, on the Grotta bowls (Renfrew 1972, fig.52:8).

Neck Jars 58:1; 59:2. This is a difficult category to define precisely, but common and very characteristic of the Late Phase. The shape is something between the hole-mouthed and the collar jars; the rim turns upwards but is not profiled enough to call a collar. They are rarely decorated, and occur generally in deposits that are mainly or wholly of this Period (Rizoupolis Cave, Ayia Irini) and in EH I (Fossey 1969, fig.4:20) when, however, sharply offset collars are predominant. Collar Jars 58:2-5; 98:3; 101:2. Many of the Collar Jars of this Phase do not have the sharply articulated neck of earlier and later jars; the shoulder curves smoothly into the collar. There are others like 58:3 from Alepotrypa, but with articulated vertical collars. The collar of 58:5 could possibly be earlier, although the handles and their position look Late), but these are few. 58:4 is the only rim of this kind that I noticed with a high handle. A somewhat similar shape to 58:3 is published from the Agora (on p.23) and Kephala (Caskey 1964a, pl.46.h, with the Kephala lug).

Handles Narrow and broad strap handles continue (60:5,9), but there are more of the latter now. Still not common, but more so than before, are round sectioned handles (55:7). Horizontal bar handles on the other hand are probably new in this phase, precursors of a common EH type (60:2; 98:3; 101:16). Strap handles are still symmetrical top and bottom or, on tankards and small bowls, upcocked (54:14; 60:8), but never sagging as in EH I and II. 60:12 is an odd perforated strap handle, the only one.

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Tubular handles are common in EH I, but they are different and generally easily distinguished (see Appendix A). In Southern Greece in the Final Neolithic they are found on a limited number of shapes: open convex or conical bowls with straight or rolled rims, and on the rims of closed convex bowls. I have not met with the latter in the Peloponnese, but they occur in the Agora and the typologically later Rizoupolis Cave (BSA collection). They have a wide distribution from Eutresis (eg Caskey 1960, fig.4; pl.45: II 29) to Attica (Hansen 1937, fig.2 a,b; French 1964, fig.9:4,5) and the Cyclades, where they characterise the Grotta Pelos Culture (Renfrew 1972, fig.10:1, 1,2,4,5). They are a common East Aegean type from Kum Tepe to Emporio (ibid, figs.5.2; 5.3), but the trumpet lug on the rim of carinated bowls represents a later phase in the east, and is unknown in Greece. This may signify that the Cycladic maritime hegemony in the Early Bronze Age Aegean had already grown to a point when it was blocking further East Aegean influence on the west.

inconclusive, unless large collections can be examined in detail. A brief summary of the more useful parallels is given here. West Coast Astakos: Large, heavy, open bowl rims and pithoi are present, a few coarse ring feet, the usual knobs, ledge, tongue and crescentic lugs (one scalloped: Benton 1947, fig.13,83), a few plain cordon fragments, and one or two impressed cordon fragments. Archondaria: Apart from several rolled rims, tubular lugs like 52:1, and a rim similar to 52:2, which are the most specific features, there are open bowls like 54:1,3; closed bowls like 51:15 and 54:10; a jar like 55:3, but much larger, and cordon fragments like 54:13. The rest of the material has no parallels. Spelia tis Omorphias: A straight conical bowl like 54:7; an open carinated shoulder like 52:4; a collar bowl like 53:5: and some plain cordon fragments.

Mat and Straw Impressions

Levkas: The principal published feature here is the plastic decoration: plain, impressed and incised, which is very like that from Alepotrypa. But other features, notably the tubular handles, are quite different (Dörpfeld 1927, pls.84; 85).

In Northern Greece and Thrace they occur in the EN period, but in the South are characteristic of late FN and EH levels. They have been found at Alepotrypa, one or two at Klenia, and at Franchthi (Jacobsen 1973a, 271; pl.51 c) and at Kouveleïki A cave, along with equally late perforated and strainer vessels (∫oumouzeli 1995). Otherwise they are only known in the Peloponnese from sites where Early Helladic material is also present (Kouphovouno: Renard 1989, pl. LII; Asea, where only two were found: Holmberg 1944:81), or pure Early Helladic sites, where they are a regular feature. In the Peloponnese, therefore, they are primarily an EH indicator, and when found in Neolithic deposits may be regarded as a sign of extreme lateness or, in the case of maritime sites like Franchthi and Alepotrypa, perhaps of Aegean influence. Mat and straw impressed bases are not uncommon in the Agora-Kephala culture (e.g. Agora nos.6,8,179-182 and others unpublished; Caskey 1964a, pl.46 g; Coleman 1977, 114), and there is one from Rizoupolis Cave, where nothing later than Final Neolithic is known, and 64 from Skoteini Cave in Euboea (Beloyanni 1997, 359). Eastwards they occur earlier, in the Late Neolithic: Saliagos (Evans and Renfrew 1968, 71; pl. VL) and the Lower Cave at Ayio Gala (Furness 1956, pl.XXI: 7).

Central Greece Too little has been published that could belong to this period for many comparisons to be made. I know of nothing from Elateia or Orchomenos, but there are parallels at Eutresis: the conical bowls with tubular handles, and the black fluted collar bowls, which have been mentioned above. There are baking pans and large coarse vessels, but these can as easily be Early Helladic. There do not appear to be any Rolled-Rim bowls, apart from some in coarse ware which are not of the AtticaGrotta type and belong to the EH club-rim bowl family. The impression, although based on negative evidence, is that there is little cultural connection between the Peloponnese, or Attica, and Central Greece at this time. Lithares is an important site for the Early Bronze age, but from the little I have seen of it there appears to be nothing in common with the Peloponnese. Euboea As might be expected the Kephala culture is represented there at several sites: Katheni-Krasas (Euboea, fig.19:2; pl.19a); Yimnou-Profitis Ilias (ibid, pl.19 a); and Maghoula (ibid, fig.18: 30; pl.19b,1,2). The handled cups from Amarynthos (ibid, fig.18:29,31; pls.17b 19b; the rim angles are not quite correct) are almost identical to the cups from Eutresis, except that the handles on the Maghoula fragments are wider (Caskey 1960, fig.7; IV

Metal See Fig. 103 and p. 168. Mainland Parallels So much of the Final Neolithic material lacks striking features that comparisons with other regions are rather

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8); they could be Final Neolithic, but the Eutresis context is EH I. None of these have been noticed in the Peloponnese.

Summary The Early Phase of Period IV includes the Red PatternBurnished, Prosymna Incised, Crusted, red or dark burnished, and coarse ware. They need not all be exactly contemporary, since the phase may have a duration of several centuries. The evidence for a tentative dating of different shapes and traits has been given in the relevant sections, and it can be seen that much of it relies on typological analogies with the Agora and Kephala pottery groups. These are the only substantial, pure, one-phase sites. There are differences between the two pottery groups, as one would expect from the distance apart and the different environments, but for present purposes they may be treated as one culture. The other recently excavated sites contain material of more than one Period and are stratigraphically imprecise, like Eutresis and Kitsos.

Addenda Since the above was written Sampson’s work on the island has changed the picture considerably. His survey of prehistoric sites on Euboea (Sampson 1981) revealed some 23 FN settlements, all in the southern half of the island and most of them along the south and east coasts (ibid, fig. 129). Four of them are 4 FN I and 19 are FN II, although Sampson’s phases, to judge by one or two of the shapes he assigns to them, do not exactly coincide with my Early and Late FN. The material comprises all the typical Agora-Kephala and Attica-Grotta types, including Rolled-Rim bowls (ibid, 153-154, figs, 108: 60 Á,‰; 115:157; 119:94). Interestingly, the only site with matimpressed bases was the Skoteini cave at Tharrounia, where 64 were found (ibid, 151, pl. 8 ·; idem. 1993, 346359, figs. 292-299 ‚).

The links between the North East Peloponnese and the Attica-Saronic Gulf region are not as close and solid as one would like, and both appear to be relatively selfcontained and independent cultural zones at this time. The many differences between them may reflect in part the external influences which were responsible for the Agora culture. In the Agora Wells there were a very few fragments of wares left by earlier habitationæMatt Painted, Grey, Black-on-Red, Red-on-Cream, White-onBlackæand two small fragments of later Rolled-Rim bowls. It cannot therefore be sure that the half dozen or so sherds of Black fluted collar bowls found there are contemporary with the main body of the material.

The sea that washed the shores of Southern Euboea and Southern Attica must have formed a small maritime cultural koine in the Final Neolithic (LN II) period, stretching from Eretria to Lavrion. The six or seven settlements lining Karystos bay, perched on small headlands, were all within sight and easy walking or rowing distance of each other. They faced southwards towards Thorikos on the mainland and Kephala on Kea. And they shared the same type pottery (Spitaels 1982, 9181). Thessaly

But if they are contemporary, as I am inclined to believe, they only emphasise the scarcity at the Agora of ceramic evidence for contact with neighbouring cultures. There is one sherd of Pan Cave type Dot-Incised ware, which could also be earlier, and a handful of Attica PatternBurnished sherds. There are rather more Agora traits in the Peloponnese, but even these amount to little more than a few lugs, handles and generalised shapes, none of which can be regarded as exclusive to the Agora-Kephala culture. More specific Agora types like scoops, white painted and incised decoration are very rare, and known only from a couple of sites. What, indeed, is striking about the Agora culture is its exclusivity and individuality, its cultural isolation from both Corinthia and Boeotia. This is in marked contrast to the situation at the end of Period III, when basically similar Matt Painted and Polychrome wares were in use from the Southern Peloponnese to the Kifisos valley and Euboea.

Apart from the unique imported scoop at Sesklo (Tsountas 1908, 206, pl. 16:3) and perhaps the other strange vessel (Tsountas 1908, pl.16:2,3), little has been published that bears any relation to the Agora-Kephala or the Attica-Grotta material. The Larissa and Rachmani wares on the other hand do have some parallels in the south. No rolled rims are known from Thessaly apart from the Rachmani bowls cited under the Crusted section, and these come from shallower shapes which do not appear to be directly related. Unfortunately the monochrome and coarse wares which accompanied them have not been published, so the argument must be based on negative grounds for the present. Such evidence as there is, therefore, suggests that Thessaly and Euboea, probably for different reasons, were relatively unaffected by the influences from the Cyclades that were making themselves felt in the coastal regions further south at the end of the Neolithic. The same appears true of Crete, where there are no Rolled-Rim bowls, and cordon decoration is virtually unknown in the Final Neolithic (Vagnetti, personal communication).

The most economical explanation for this isolation, as well as for the lack of local antecedents, is that the Agora culture was alien in origin, a supposition strengthened by the coastal and maritime distribution of the known sites

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where certain similar pottery features occur. More parallels can be found on the East Aegean islands of Samos, Chios, Kalymnos and Kos than in Attica or the Peloponnese, although again there are differences, which indicate that there was no direct linear movement at this time across the Aegean from East to West. It is possible that there was a common cultural stock from which parallel but independent local island cultures developed and expanded, each subject to and modified by different outside influences. The Tigani and Agio Gala communities grew up in the east, the Kephala culture in the west. One element in this cultural stock may have been the Saliagos culture (Evans and Renfrew 1968), which flourished half a millennium earlier on the islands of the Southern Cyclades, since it cannot be supposed that all human habitation ceased on the islands at its close. Its settlements, like many later ones no doubt, were generally small and, where they have not been entirely obliterated, have left scant traces on the eroded slopes of the hillsides and headlands.

jars with vertical tubular lugs and everted lips, and slashed cordon decoration, are not found on the mainland; nor are any of the Pelos types before an advanced phase of EH I (eg. Korakou). This suggests that the Grotta Rolled-Rim bowl component represents the cultural influence of an earlier and geographically different tradition from the Pelos culture, with which it overlapped and to which it perhaps gave rise. Minor differences among the bowls may be due to local evolution, which would entail, however brief it may be, some span of time in which it could take place: for example the inner bevel on the island bowl rims is never found on the mainland, and the rippled and incised rims on the mainland bowls are not cited from the islands. The precise chronological relationship between the Kephala and the Grotta cultures remains to be clarified. Some light may be thrown on this by the Kitsos excavations, where traits of both cultures are found in combination (Rolled-Rims and Pattern-Burnish). Elsewhere they seem rarely if ever to occur on the same site. If this phenomenon is confirmed in the future, it will suggest, what seems at least possible on present evidence, that cultural and social, as well as chronological, factors may play a part. The Kephala and Agora folk, with a different tradition, and a history behind them of local West Aegean development, may well not have welcomed or mingled with the bearers of the Grotta culture which was expanding westwards from the islands. This can be no more than speculation at the moment, but the Rolled-

The Kephala and Agora communities were larger than others of the same culture, perhaps the only two major centres, except for Skoteini on Euboea, where there was a strong presence of these cultures as well as Grotta types. The presence of copper objects at Kephala (four fragments, apparently of copper from Lavrion: Coleman 1977, 113), Kitsos and Skoteini Cave on Euboea, and the evidence of a fragment of imported gossan rock in Agora Well 10 (identified by Professors Rapp and Cook), hint at a new source of commercial activity, although how large a role it played in the economy of the west Aegean at this period remains to be demonstrated.

Rim bowls from Kitsos with Attic Pattern-Burnished decoration could well be regarded as the result of a chronological overlap between the two cultures (cf. Renfrew 1972, 75).

No identifiable material of the Grotta culture was found at Kephala, so far as I know, and only two sure fragments at the Agora, but on the north slope of the Acropolis and in the caves on the south side, where Agora material is scarce, as well as in the neighbouring Rizoupolis Cave, plain and Rolled-Rim bowls with tubular handles typical of the Grotta pottery have been found. The Grotta culture of the island is at least in part associated with the Pelos culture and is considered by him to overlap both Early Helladic I and the Attic-Kephala culture (Renfrew 1972: 75, 206). The Cycladic aspect of the Grotta culture has been fully discussed by Renfrew, but the situation of Grotta types on the mainland deserves a short comment here because of the chronological implications for Attica and the Peloponnese.

I have ended the Neolithic sequence in the Peloponnese with the last occupation of the Alepotrypa cave. I know too little of the mixed surface levels at Franchthi to say how much the material there corresponds, while at Asea and Kouphovouno the presence of EH material makes other than a typological division impossible, although current excavations at the latter site may change this. Alepotrypa is far from the Attica-Saronic area, and the possibility cannot be ignored that independently evolved local traits may to some extent obscure typological comparisons with material from further north. Since everyone may not accept my use of the Alepotrypa material as a criterion to define the chronological boundaryæa boundary, it must be stressed, that is quite artificial and serves only as an aid to classificationæ between the Neolithic and Early Helladic periods, I have given in Appendix A a short list of some of the criteria which seem to me to define EH I. The transition, whether rapid or not in terms of absolute chronology, is gradual and imperceptible in terms of the pottery typology. There

Of the Grotta-Pelos shapes published by Renfrew (1972, figs.10.1; 10.2), all the bowls with plain, perforated and rolled rims, and with similar ledge and tubular lugs, are found in Attica. From the Rizoupolis Cave there are also closed convex bowls with the same tubular lugs below or on the rim. The other elements, such as conical necked

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does not appear to be any break or striking innovation of ware or shape. EH I types develop out of the Final Neolithic, and most of the earlier shapes continue without apparent change, except perhaps in their frequency of occurrence. It may be impossible to place a given collection of material at one or the other end of the transition phase if it is not large enough for the presence or absence of diagnostic traits to be statistically significant (cf. Howell 1970, 106-8).

basically changed. Charts I to III set out schematically the chronological relationships of the principal wares in the Periods and Phases which have been described in the previous sections, where the evidence and arguments have been discussed. The uncorrected Carbon-14 dates for Franchthi have been included in the left column, arranged in series according to the phases to which they were attributed by the excavator. Each Period or Phase is shown by a different convention for ease of comparison: Aceramic, EN, MN, LN and FN. The length of the lines is based on the maximum range of statistical error given for any single date or group of dates. They were taken from Jacobsen 1969, 374; 1973a, 85-6, Table 8; 1973a, 282; Radiocarbon 13, 1971, 364. The charts are intended only to illustrate the conclusions arrived at in the thesis, and, as has been emphasised in the text, many of these are no more than provisional.

Chronology The precision of Carbon-14 dating in the Neolithic is inadequate for making close chronological comparisons between different regions. It can confirm what on typological grounds could hardly be doubted, that the Early, Middle and Late Neolithic Periods in Southern and Northern Greece are roughly contemporary, but cannot tell us with certainty whether Urfirnis begins and ends earlier or later in the Peloponnese than Sesklo Ware in Thessaly. Until many more dates are available from both areas, systematically tied to closely defined pottery phases, a study of the comparative chronology must continue to rely on two assumptions: that major cultural changes in different provinces were expressed in the typology of the pottery they produced, and that these changes occurred at approximately the same time in cultural provinces with similar traditions and exposed to similar influences. Changes in Thessaly, for example, are paralleled by changes in the Peloponnese, but not necessarily in Macedonia, or Thrace. How far these assumptions are valid and, if they are, by what mechanism a simultaneous and systadial development takes place in two regions not in immediate and direct contact, cannot be discussed here. Ecological, economic, social and diffusionary factors are all involved.

Chart IV (p. 148) is a similarly constructed summary of the uncorrected Carbon-14 dates from all of Greece available to me in 1975, excluding Eastern Macedonia and Crete, which develop differently from Southern Greece. It was based on sixty-one dates, six of which have been rejected as being obviously incompatible. Other unreliable dates have been incorporated for the sake of completeness, such as the late Aceramic date from Sesklo. Attempts to analyse individual dates are irrelevant to the overall picture, which is all that I have aimed at here. The picture is fairly consistent, given the uncertainty of much of the data. It should be noted that the two Elateia EN lines refer to the Monochrome and Early Painted ware dates, and that the earliest Monochrome date was taken from a level high up in the metre deep Monochrome deposit in Trench 1; it therefore does not reflect the earliest level. There are discrepancies in all three of the Early Painted dates: one (omitted) is much too early and the other two are late, by comparison with the Sesklo and Franchthi series. The published Kitsos dates are not related to wares or phases, and the Late and Final Neolithic line conventions are my suggestion.

The charts (pp. 143-148) were constructed at the time the thesis was written and are therefore no longer complete, but they are left more or less the way they were and may be assumed to illustrate general trends, which have not

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Origins and Conclusions

The origins of the Early Neolithic are still uncertain. At Franchthi the excavator thought there was a hiatus between the Mesolithic and the lowest Neolithic levels in the cave (Jacobsen 1973a, 256, note 6; 263). Neolithic techniques are generally assumed to have been imported rather than to have evolved locally; the problem is, whether they came overland from the north, or by sea from the east. Such C-14 dates as there are give no chronological precedence to the north (Chart IV, p.148), and the absence of EN sites from Eastern Macedonia, Thrace and North West Anatolia further raises the question of the origin of the two or three sites known in West and Central Macedonia. Obsidian in the Franchthi Mesolithic levels is proof that seafaring was practiced much earlier in the Aegean than farming, and there is thus no reason why the techniques, seed, stock and farmers could not have made their way across the Aegean from the east. A greater feat of navigation and transport was performed by the first colonisers of Malta, who crossed some seventy miles of open sea bringing with them their livestock and seeds from Southern Sicily to a low lying island which is habitually invisible from the sea at a greater distance than fifteen miles or so, except for brief periods at sunrise and sunset. But whether in fact Neolithic farmers did migrate from Anatolia, and from what part they came, are still matters of speculation, since no EN sites are known in Western Anatolia or on the islands along the route, unless the recent report of a cemetery on Kythnos proves to be relevant (Coleman 1974, 333, footnote). Since the above was written, Layer 5 in the Yarimburgaz Cave in Turkish Thrace has produced Neolithic nail impressed ware that resembles the Proto-Sesklo ceramics and the “impressed” wares of Corfu (Sordinas 1967, 64) and the Adriatic coast to the west, and perhaps the early StarËevo culture to the north (cf. Tringham 1971, 69 fig.8; 110 fig. 18). This suggests, on the ex oriente lux theory, a route across the Dardanelles.

Franchthi (Franchthi I: 25, 41), but reasons have been given for supposing that such a phase may well have existed in the Peloponnese as at Elateia. In Boeotia Redon-White appears later than Red-on-Buff, and from the little evidence available in the Peloponnese it is likely that same situation prevailed there (p.15). In fact there is relatively little Red-on-White in the south, and if any weight can be given to stylistic comparisons between Boeotia and the Peloponnese, the decoration of even the early Red-on-White at Elateia is closer to early Urfirnis than to the EN (p.15). Period II These two considerations suggest that Period II begins a little before Weinberg’s Late Red-on-White in Boeotia. In Thessaly the evidence from sites like Argissa, Otzaki and Prodromos implies that painted Early Neolithic pottery may have had a longer life than in the Peloponnese. It could begin earlier, or end later; in the latter case the Sesklo phase would begin later than Urfirnis. Most of the Sesklo phase, however, should be contemporary with Period II. The late spread of Urfirnis into Central Greece and up the East and West coasts has been discussed (pp.16), and the difficult question of the transition from Period II to III (pp.64-65). Period III The only site where the Period II and III transition phase seems to be complete is Franchthi. The Forum West deposits at Corinth are not the earliest Period III (p.14), nor is the Tsangli phase the earliest in Thessaly. The evidence points to Matt Painted coming into use earlier in the North East Peloponnese than in Boeotia (p. 16) or Thessaly. But C-14 dates and stratigraphic evidence to demonstrate the relative chronologies of the transition in the Peloponnese and Thessaly are lacking. However the abruptness of the change is the same in both regions and may be attributed to the same causes, whatever they may be. If the new style of pottery began slightly earlier in the Peloponnese, as I have suggested, it was not long in spreading to Central Greece and Thessaly. In the chronological terms of prehistory the beginning of the Late Neolithic can be regarded as roughly contemporary from the north to the south of Greece.

No Early Neolithic sites are known in central and eastern Macedonia or Aegean Thrace (Efstathiou 2003, 9-10). Efstathiou points out that the explanation may well lie in the geomorphological history of the region and the changes in its landscape history. The prehistoric landscape was very different due to sea level fluctuations, deltaic phenomena, heavy alluviation and floodplain formation. The old coastline would have been 4-5 m lower than today, exposing a large area of lowland suitable for settlement (Efstathiou 2003, 3-4).

Thereafter the different regions tended to go their own ways, although Boeotia and Corinthia maintained links until the end of the Period. It was a time of independent development for the potters, distinctive local styles

Period I Vitelli was unable to isolate a monochrome phase at

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emerged which make close chronological correlations difficult (p.100bb), as in Period II.

other chronologically. They are unlikely all to be contemporary, unless the pits were filled in at one time; and even then it would not be surprising if earlier material dug out of the pits found its way back into them along with later fill. Theocharis describes a similarly mixed deposit at Pyrasos (1959a, 58), but again the stratigraphical and typological affinities of the material are not known. If, as was suggested by Milojc¬ic´ (1959, 26), Theocharis (1959a 59) and French (1972, 20), the red-slipped Thessalian Ia ware is contemporary with EH I in the south, it has yet to be shown whether it is the same red-burnished ware that accompanies the Crusted in pure Rachmani deposits, or a later ware which evolved from it. In other words, is there a gap between the end of the Rachmani Crusted phase and the beginning of Early Thessalian I, which would correspond to the Late Phase of Period IV in the Peloponnese, or does the Crusted Ware continue to the end of the Period in Thessaly?

Period IV At some point the Polychrome wares of the Peloponnese and the Dimini wares of Thessaly cease, to be followed or closely overlapped by a variety of new wares: Prosymna Incised, Red Pattern Burnished and Crusted in the south, and the Rachmani and part of the Larissa cultures in the north. There is no evidence to show whether this took place at the same time or not. In Attica and the West Aegean the Kephala culture took root (p.110). It is probable, from the few parallels among the shapes and traits and from the similar crusted paint technique, that all these are at least partly contemporary. The use of copper in Southern Greece is attested for the first time in the Early Phase of Period IV, at Kephala, Kitsos and probably the Agora, where gossan rock and fragments of possible crucibles have been found (p.108). The massive Sesklo axes, and the copper tools and silver jewellery from Alepotrypa (p.12, figs. 102,103) may be from this Phase, or perhaps more probably, the Late Phase.

Certainly it had ceased to be made by Early Thessalian Ib, which Milojc¬ic´ has defined by the material from the three fortification ditches at Argissa, in the latest of which a few Urfirnis sherds appeared. The ET Ib ware is predominantly dark or black, not red (Milojc¬ic´ 1959: 26f) (Servia-Tatar ware).

In the south two phases are distinguishable, corresponding to the Agora-Kephala and Grotta pottery groups (p.103). These phases have not been clearly documented in Thessaly, where the new Aegean maritime influences seem to have made little impact, and the Rachmani crusted ware may have lasted rather longer there than the crusted wares of the south, which was more exposed to the new pressures. How long it continued is doubtful, since good transition levels have not been excavated in Thessaly. Milojc¬ic´ based his Early Thessalian Ia on the Otzaki Kellergrube which contained Crusted Ware and a ware with a thick shiny red slip, which he equates with the EH I wares of the South (Milojc¬ic´ 1959, 26 f). But, as we have seen, red-slipped wares are found in the South continuously throughout the Final Neolithic and EH I Periods, where they constitute only one element among the many that characterise different phases. At Otzaki it is not clear, since the material has not been published, how the wares found in the Kellergrube are related to each

In the south, the growth of the Agora-Kephala culture seems to have interrupted the previously close contacts between Attica, Boeotia and Corinthia, but during the Late Phase the new Grotta culture, spreading west from the islands, brought Attica and Corinthia closer together again. Unlike the wares of the previous culture, the new Rolled-Rim bowls had a wide distribution throughout the Aegean, and penetrated to the southern Peloponnese and as far as the west coast of the mainland. They do not, however, appear to have spread to Thessaly and the north. This short phase marks the beginning of Renfrew’s maritime Grotta-Pelos culture and merges into EH I in the Peloponnese, out of which developed the populous, prosperous and semi-urban communities of EH II, independently of, but influenced by and commercially linked with, the Cycladic sea powers of the later third millennium BC.

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APPENDIX A

Early Helladic I

with a bunch of grass or straw; a finer ware, not very carefully smoothed, and then covered with a bright red matt slip; and a red, red-brown, or red and black mottled, slipped ware, on which differential shrinkage in the kiln has produced a fine, characteristic crazing of the surface.

In order to define the wares and shapes of my Final Neolithic [LN IIb / Chalcolithic] it was necessary to decide what precisely constitutes the pottery of EH I. Blegen’s division at Korakou was largely typological, but from the publication it looks as though what little EH I material was present belongs to the end of that phase. At other Early Helladic sites excavated in the Peloponnese the EH I phase, if it is represented at all, was not clearly separated stratigraphically from EH II. Caskey’s 1958 Eutresis excavation was rather more explicit (1960) and his Groups III to V are composed mainly of EH I material. They are not, however, closely stratified deposits and there is some mixing of material (eg. pl.46: III 7 is the same as the black fluted collar bowls found at the Agora, discussed above, and pl.45: II 32 is an EH I slashed rim bowl); too much confidence cannot be placed in the chronological association of all the types in a Group. The excavator himself is cautious in his conclusions (Caskey 1960, 162). Furthermore a number of Peloponnesian features are absent from Eutresis. French has discussed the typology and illustrated some of the shapes (1968, 56; 1972, 18-19; fig.21: 6-19) for Central Greece, but they do not include shapes and traits important for the Peloponnese. The first one-phase site so far excavated in Southern Greece was Perachora-Vougliagmeni (Fossey 1969, 53ff), where the absence of any traces of Final Neolithic or EH II material places it squarely in EH I. It is noteworthy, however, that certain EH I traits, such as slashed rim bowls, appear to be missing, while shapes ancestral to the sauceboat are found there (Howell, personal communication) as well as the typical drooping EH II jar handle (an example in the BSA collection). From this one suspects that the Perahora settlement is to be dated late in EH I.

Shapes Large pedestal bowls in red smoothed or low burnished ware, with tall bell-mouthed pedestals, drooping rims and tubular lugs. The pedestals may have cut-out, pinched or plastic decoration, the latter around the neck (eg Holmberg 1944: figs.67a; 72; Blegen 1928a, fig.108; Fossey 1969, fig.3, 5; Caskey 1972, fig.4: B 64). Open or closed convex bowls with swollen or sharply incurved rims (Theocharis 1951, fig.18; Caskey 1960, fig.7: 1-3; Fossey 1969, fig.3,4,8). Jars with thickened, hooked rims (Caskey 1960, fig.4: III 15; Fossey 1969, fig.4:1) or low flaring collars (Fossey 1969, fig.2,6; 4:2-9), or slightly convex collars with everted lips (Caskey 1960, fig.7: IV 7; Fossey 1969, figs.2, 17-19; 4: 25-29). Rims These are most diagnostic, and particularly on open and closed bowls some sort of thickening is common. Flat cut-off rims tend to be wide and often become a T-rim (Caskey 1960, fig.4: III 11,12; Fossey 1969, fig.5: 23-26; Holmberg 1944: fig.65e). Other types include bevelled (Caskey 1960, fig. 4, III 1), and wavy or scalloped rims (Fossey 1969, fig.4:22; Howell 1970, fig. 2: 25). Flat rims are, typically, decorated on the top with transverse or oblique incisions (Blegen 1928a, pl.V:1; Theocharis 1951, fig.17; Holmberg 1944: fig.68,c.m; Caskey 1960, fig.4: II 32). At Palaia Kokkinia some have transverse plastic strips on the rim, but this has not been noted elsewhere. Kerbschnitt decoration belongs to EH II.

The following summary includes only some of the salient EH I features, since others are too well known to need restating here. Some of them persist into EH II, and others may have a limited local distribution. Boeotia and the Peloponnese are still culturally separate zones, although they have more types in common in this phase.

Lugs Certain types are characteristic: long narrow ledge lugs with two vertical perforations (Holmberg 1944: fig.68,m), and most especially spool lugs (Holmberg 1944: figs.57,b; 64,a,b; Fossey 1969, figs.4 and 5 passim; Säflund 1965: fig.112, 23a).

Wares Red is the commonest, but buff, cream and black form substantial minority variations. Some of the fabrics are identical to those of the Final Neolithic, but a few are characteristic and distinctive in the hand. Among them is a fine hard, thin-walled ware with a thick black core and thinner, smooth buff skins; a semi-coarse ware, the surface of which looks as if it had been wiped when soft

Handles The EH I tubular handle is larger, thinner walled, often slightly convex, and projects farther from the side of the bowl or jar than the FN version. The ends are often strongly bevelled, and on large jars they sag in a

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distinctive manner (Theocharis 1951, fig.15 a; Caskey 1960, pl.47: III 8; Blegen 1928a, fig.99; Levi 1930-1, fig.49 d; Coldstream and Huxley 1972, pl.16: 25). Coarse ware handles with a flat or round section which may have grooved decoration (Coldstream and Huxley 1972, pl.17: 53-57; Kouphovouno: Renard 1989, pl. XXXVIII).

None of these features was found at Alepotrypa, Klenia or sites like the Agora, Kephala and Rizoupolis Cave, which have been used in the Period IV section for typological comparisons. Small vertical spool lugs on a bowl from Kamenitsa Cave suggest a slightly later date for at least part of its occupation than that of the latest pottery from Alepotrypa, but the difference if any is slight. Handles at Kouphovouno like those from Kythera should be EH I, but they are not found at Alepotrypa, nor have I seen them in the north of the Peloponnese, and their parallels are perhaps to be sought in the East Aegean.

Cordons These are rare at Perachora: simple impressed cordons around the rim or belly are the only ones shown. The typical cordons with neat oblique incisions, often set in rows of three or more, with the slant of the incisions alternating so as to produce a herringbone effect, are not mentioned from that site, and could be EH II, like the rope and overlapping disk varieties.

APPENDIX B Some relevant websites List of Greek Museums. http://www.culture.gr/2/21/toc/museums.html Aigion Museum. http://www.culture.gr/2/21/211/21106m/e211fm02.html Dirou Museum: showcases with pots and sherds. http://www.laconia.org/diros_mousio.htm Franchthi Cave: Palaeo to Neo sequence; dates. http://www.indiana.edu/~classics/aegean/R01.html Franchthi Cave: links to excavations, pottery, etc. http://www.indiana.edu/~archaeol/franchthi/franchthi.html Franchthi Cave: old shoreline. http://www.le.ac.uk/archaeology/rug/AR210/TransitionsToFarming/fran.htm Franchthi figurines: Talalay. http://www.indiana.edu/~archaeol/franchthi/essays/talalay.html Sakovouni: Tripolis Museum. www.culture.gr/2/21/211/21105m/e211em01.html Nemea Valley Archaeological Project. www.brynmawr.edu/Acads/Arch/NVAP/Index.htm www.learningsites.com/NVAP/NVAP_text/NVAPhome2.htm Aã Kouveleiki Cave, Alepochori, Lakonia http://www.culture.gr/2/21/214/21403e/e21403e2.html Bã Kouveleiki Cave, Alepochori, Lakonia http://www.culture.gr/2/21/214/21403e/e21403e3.html

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NOTES

(Soteriadis 1908) and Weinberg (Weinberg 1961) were able to distinguish three EN phases, in the first of which there was no painted ware (for a summary of Weinberg’s findings, see the section on Elateia, p.13). In the Peloponnese one can perhaps distinguish a stratigraphical subdivision of the EN period at Corinth, where Lavezzi found stratified two EN phases and a transition one under a Middle Neolithic level (Lavezzi 1978, 406, and see note 2 below). At Lerna, where four of the pottery groups in Area J contained no painted sherds, the quantity of material was too small to be conclusive (see Lerna, p. 18 above). Similarly at Franchthi Vitelli was unable to subdivide the Early Neolithic because of the lack of sufficient material and of a good stratigraphy (eg Franchthi I, 41-45).

1. They are, however, largely irrelevant to my purpose here, which is simply to try and identify the geographical and chronological relations between different pottery types and styles in the Neolithic Peloponnese. For the Cyclades Brood bank also uses culture names for specific assemblages, but Aegean time periods as a framework of reference (Brood bank 2000, 53-54). 2. The term “Chalcolithic,” used in the Balkans, was preferred by German archaeologists, and recently Douzougli has detailed her reasons for following their example (Aria, 127-131, 169). It is also used for roughly contemporary or systadial periods in Anatolia and the Balkans, and, along with “Eneolithic” and “Copper Age,” for Italy, Central Europe, etc. But there seems to be some confusion between substance and form, between cultural and chronological identities (see p. 3 above) in the matter of terminology. For instance MN has been abandoned by some archaeologists in favour of EN II, and LN and FN in favour of LN I and II (e.g. Sampson 1993, 43; 1997, 545-546.). The resulting quadripartite division remains the same as mine in all but name, but reading archaeological reports and commentaries sometimes requires a mental concordance.

5. I examined all of the Neolithic and Early Bronze age material from Howell’s Arcadia Survey and discussed it with him in detail. I agreed with his attribution of the material, which was based on Weinberg, the only source available at the time. I now have some doubts about the attribution of some of his sherds. 6. Cf. the brief note on EN fabrics at Lerna (Vitelli 1974, 40-4) and see Franchthi I, 2, Table III: FCP 1. No attempt can be made here to match the exhaustive categorisation of the Franchthi pottery fabrics based on detailed scientific analyses in Franchthi I. Nor would it assist my purpose, which is to facilitate comparisons between sites and cultures. 7. This was due to an error. Howell (1970, 106) thought it might belong to Weinberg’s CI ‘Matt-Painted’ class, but was himself doubtful about the existence of an Early phase of the Late Neolithic (Forum West) phase at Asea. The white paint on Late Neolithic White on Black is often matt, but not crusted. Fig. 4:18 may well, therefore, be Final Neolithic (Period IV).

Phelps Coleman Lavezzi Douzougli Sampson

Period I EN Early Late Period II MN Early Middle Late Period III LN Early Late Period IV FN Early Late

EN

EN

EN

EN

MN

MN

MN

MN

LN I

LN I

LN

LN Ia

LN II

LN Ib

Chalco

LN Ib LN IIa LNIIb

8. The use of kaolinite imported from Melos for the white filling of the incisions and for the White Ware at Nea Makri and Brauron, appears to be unique (Pantelidou 1995: 140-141, note 490). Another feature not noted elsewhere is the technique for making the incised patterns: a preliminary design was impressed onto the leatherhard surface with a stretched string or animal hair and then incised (Pantelidou 1996, Summary and Conclusions, 303310 and 322, no.3).

3. At the time it was written the original thesis took account of virtually all the existent finds from the excavations of Neolithic sites available. That, of course, is no longer the case, but the finds from more recent excavations are more likely to supplement than to entirely overturn the conclusions expressed here. 4. The great depth of the deposits and the huge amount of Early Neolithic material recovered at Nemea suggest the probability of a long period of occupation of the site, as at Elateia, where both Soteriadis

9. There is a problem here. The original suggestion that the stone bowls and the White Ware, which is fine

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and thin-walled, may have come from Nea Makri now appears to be wrong. The Nea Makri White Ware was made from kaolin, and white stone bowls are not a Nea Makri product, I am told by the excavator, Professor Pantelidou. So we must look elsewhere, perhaps to the Cyclades, with which there was contact at this time, as the Melos kaolin indicates, and the influences were reciprocal (Pantelidou 1995: 180-181).

(with a very full bibliography). The Berbati-Limnes survey revealed 19 FN sites in the area, ranging from a probable hierarchy of three dominant settlements to small, perhaps pastoral, hilltop sites (Johnson 1996). 14. Douzougli (Aria, pls. 21-23) illustrates some twenty pedestal bowl rims in her black-grey category, which are identical to those from Corinth.

10. Forsén (Forsén 1996: 48, no.5) puts it in the Early Neolithic.

15. These were found by Sylvia Benton in the 1930s. The cave has recently been fully excavated by Yannos Lolos and Alexandra Mari (Mari 2002).

11. For a more recent and detailed discussion of this subject, see Talalay 1987, 161-168.

16. There is a useful discussion of these vessels in Aria, 80-86, with a distribution list (except for the site of Serbia, where Cakran ware, but no actual rhyton, was found). The fragment from Dörpfeld’s excavation of the Choirospilia Cave on Lefkada cited by Douzougli (Aria, 83) is particularly interesting, since the cave lies directly on the Adriatic sea route, which there is good reason to believe may have been extensively used in the Final Neolithic period.

12. Early Vinc¬a figurines were often made, like those from Thespiae, in parts that were then joined before firing, but the joints remained very fragile (Koroöec 1952, 15-39, pl. 13). 13. A comprehensive explanation for this shift in settlement patterns can be found in Johnson 1996a

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BIBLIOGRAPHY

Zentralmuseums Mainz Walker-Kosmopoulos L. 1948, The Prehistoric Habitation of Corinth I. Bisher F. Bruckmann, Munich Orchomenos: Kunze E. 1931, Orchomenos II. Die neolithische Keramik. München ¶∞∂: ¶Ú·ÎÙÈο Ù˘ ÂÓ ∞ı‹Ó·È˜ ∞Ú¯·ÈÔÏÔÁÈ΋˜

ABBREVIATIONS

LWK: AA: AAA: ∞¢: ∞∂: ∞∂ª: Agora:

AM: AR: Aria:

Archäologische Anzeige ∞Ú¯·ÈÔÏÔÁÈο ∞Ó¿ÏÂÎÙ· ÂÍ ∞ıËÓÒÓ ∞Ú¯·ÈÔÏÔÁÈÎfiÓ ¢ÂÏÙ›ÔÓ ∞Ú¯·ÈÔÏÔÁÈ΋ ∂ÊËÌÂÚ›˜ ∞گ›ÔÓ ∂˘‚Ô˚ÎÒÓ ªÂÏÂÙÒÓ

∂Ù·ÈÚ›·˜

Immerwahr S.A. 1971, The Athenian Agora XIII. The Neolithic and Bronze Ages. Princeton Mitteilungen des deutschen archäologischen Instituts Archaeological Reports of the British School at Athens Douzougli A. 1998, ÕÚÈ· ∞ÚÁÔÏ›‰Ô˜:

Asea: BAM: CAH:

Elateia: ŒÚÁÔÓ:

∆·ÌÂ›Ô ∞Ú¯·ÈÔÏÔÁÈÎÒÓ ¶fiÚˆÓ Î·È ∞·ÏÏÔÙÚÈÒÛˆÓ. ∞ı‹Ó·

Prosymna:

Blegen C.W. 1937, Prosymna. The Hellenic Settlement Preceding the Argive Heraeum. Cambridge Zervoz Chr. 1962-1963, Naissance de la civilisation en Grèce, I II. Paris.

Zervos:

ÃÂÈÚÔÔÈËÙÈ΋ ÎÂÚ·ÌÈ΋ Ù˘ ¡ÂfiÙÂÚ˘ ¡ÂÔÏÈıÈ΋˜ Î·È Ù˘ ÷ÏÎÔÏÈıÈ΋˜ ¶ÂÚÈfi‰Ô˘. ∞ı‹Ó·

AS: ASAtene:

T.A.P.:

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PHELPS W.W. 1979: "Five Copper Axes from Greece,” BSA 74, 175-184.

PAPATHANASIOU A., LARSEN C.S., NORR L., 2000: “A Bioarchaeological Analysis of a Neolithic Ossuary from Alepotrypa Cave, Diros, Greece,” Internnational Journal of Osteoarchaeology. 10(3): 210-228.

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PAPATHANASOPOULOS G.A., 1971: “™‹Ï·È· ¢ÈÚÔ‡: AÈ ·Ó·Ûηʷ› ÙÔ˘ 1970-1971,” ∞∞∞ πV, 12-26.

PHELPS W.W. 1987: “Prehistoric Figurines from Corinth,” Hesperia 56, 233-253.

PAPATHANASOPOULOS G.A., 1971a: “™‹Ï·È· ¢ÈÚÔ‡: ∂Î ÙˆÓ ·Ó·ÛηÊÒÓ Ù˘ ∞ÏÂfiÙÚ˘·˜. 1970-1971,” ∞∞∞ πV, 149-154.

PLATON N.

138

1966: “∂ÚÁ·Û›·È ‰˘ÙÈ΋˜ ÎÏÈÙ‡Ô˜,” A¢ 21, 39-43

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

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PYKE G., YIOUNI P. 1996: in RODDEN R. J., WARDLE K. A. (eds.).

RUNNELS C.N., PULLEN D.J., LANGDON S. (eds.) 1995: Artifact and Assemblage. The Finds from a Regional Survey of the Southern Argolid, Greece. Vol. 1. The Prehistoric and Early Iron Age Pottery and the Lithic Artifacts. Stanford University Press, Stanford CA.

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RENFREW C.

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RUTTER J.B.

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SÄFLUND G.

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SAMPSON A.

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SAMPSON A.

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SAMPSON A.

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SAMPSON A.

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RIDLEY C., WARDLE K.A. 1979: “Rescue Excavations at Servia 1971-1973: A Preliminary Report,” BSA 74, 185-230. ROBINSON H.S. 1976: “Excavations at Corinth: Temple Hill 1968-72,” Hesperia 45, 305-364. RODDEN R.J. 1962: “Excavations at the Early Neolithic site of Nea Nikomedeia, Greek Macedonia (1961 Season),” PPS 28, 267-288.

Ï·ÈÔ, Ô ÔÈÎÈÛÌfi˜ Î·È ÙÔ ÓÂÎÚÔÙ·Ê›Ô. ∞ı‹Ó·. English summary, pp.288-303.

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¶ÚÔ˚ÛÙÔÚ›·˜. \AÚ¯c ηd ¶ÚÒÈÌË \EͤÏÈÍË Ùɘ NÂÔÏÈıÈÎɘ. µfiÏÔ˜.

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CHRONOLOGICAL CHARTS

These are explained and discussed on p. 123. The abbreviations for the pottery types in the charts are as follows;

3. Kefala P 1280 ? 4.& 6. Sitagroi Bln 773 Bln 782 Bln 781 Bln 780 5.& 8. Eutresis P 306 P 307 P 317 7. Lerna P 318 P 319

Chart I. Dates of wares and shapes. EN to LN. FM = Fine Monochrome of the thin-walled black or buff kind (e.g. 2:4,10.) EP = Early Painted. LP = Late Painted. SS = Smeary slip, and generally, the different kinds of proto-firnis. WW = White Ware. PC = Proto Carinations, angular shoulders. CJ = Collar Jars. Urf = Urfirnis: Urfirnis proper, not the intermediate low-lustre slips. S-F = Stroke-Firnis. B1 = Black Monochrome of the Period III kind. MP = Matt Painted ware.

The lateness of the Lerna dates could be due to a number of methodological factors, but it is also worth remarking that the earliest EH II material from the site belongs to a typologically developed stage and therefore does not represent the beginning of EH II.

Chart II. Dates of wares and shapes. LN. Mpa = Normal matt dark paint on buff or cream. Mpb = Red, or glossy dark paint. Gr = Fine Grey ware. LP = Late Polychrome of the Klenia-Prosymna varieties.

The carbon-14 series on Chart IV are based on the following published dates (BC); those marked with an asterisk were not used on the chart because the degree of discrepancy makes their reliability doubtful:

Chart III. Wares. FN to EH. Pros.Inc. = Prosymna Incised ware. Cr = Crusted ware. SB = Stroke-Burnished. PB = Red Pattern-Burnished ware of the Prosymna and Aigina kinds. Ago-Kef = Types and traits of the Agora-Kefala culture. Pelos-Alep = All the types and traits associated with the rolled-rim bowls from sites on the islands, in Attica and the Peloponnese.

Franchthi

P 1526 P 1527 P 1392 P 1525 P 1667 P 1399 P 1824* P 1922 P 1922A P 1537 P 6128* P 1662 P 1661 P 1630 P 1921* P 1920 P 1660 P 1659 Halieis P 1399 Kefala

Chart IV. Selected carbon-14 dates available to me in 1975. The carbon-14 series on Charts I - IV are based on the following published dates (BC): 1. Franchthi

P 1660 P 1659 2. Halieis P 1397

(Caskey 1968: 314;Radiocarbon 11, 1969: 156) 2876 ± 56 Kefala Culture 3031 ± 58 “ “ (Renfrew 1970: 302) 2440 ± 100 Sitagroi IV, E.B. I 2360 ± 100 “ “ 2135 ± 150 Sitagroi V, E.B. II 1920 ± 100 “ “ (Kohler and Ralph 1961: 357f) 2496 ± 61 Group IV, EH I 2492 ± 57 Group III, EH I 2262 ± 56 Group VIII, EH II (Kohler and Ralph 1961: 365) 2120 ± 65 House of Tiles, EH II 2027 ± 59 “ “

(Jacobsen 1973,table 8;Radiocarbon 13,1971:364f;1974:2 14) 3311 ± 64 FN 3213 ± 78 FN (Radiocarbon 13, 1971: 367 3152 ± 72 Bedrock deposit of shell with Kefala culture

P 1280

143

(Jacobsen 1969: 374-5; 1973, table 8; Radiocarbon 13, 364f; 14, 214 f) 6072 ± 76 Meso - Neo transition 5947 ± 88 “ “ 5844 ± 140 Aceramic 5754 ± 81 EN 5328 ± 86 EN 5244 ± 112 Start of Urfirnis: MN 4718 ± 74 EN - MN transition 4835 ± 87 MN 4780 ± 73 MN 4696 ± 79 MN 4905 ± 150 MN - LN transition 4741 ± 81 Early LN 4206 ± 70 LN 4160 ± 86 LN 6457 ± 92 LN 4222 ± 60 LN 3311 ± 64 FN 3213 ± 78 FN (Radiocarbon 13, 1971: 367) 3152 ± 72 FN (Kefala culture) (Caskey 1968: 314; Radiocarbon 11, 1969: 156) 2876 ± 56 FN

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

(Radiocarbon 16, 1974: 54f) 3520 ± 150 Layer 3a 3400 ± 200 Layer 3 3700 ± 130 Layer 4 3600 ± 150 Layer 4 3800 ± 130 Layer 4 3750 ± 140 Layer 4 (Evans & Renfrew 1968; Radiocarbon 11, 1969: 157) P 1393 3766 ± 85 LN P 1333 3825 ± 84 LN P 1368 3959 ± 87 LN P 1396 4124 ± 79 LN P 1311 4222 ± 74 LN The list is not exhaustive. Other dates, which were not known to me at the time Chart IV was drawn, include two from Argissa, of which the first is clearly erroneous and the second is in general agreement with those from Sesklo and Kitsos. Argissa (Milojc¬ic´ 1961: 446) H ? 4870 ± 120 Aceramic EN H ? 3680 ± 150 LN. Dimini III/IV Recently published dates from Achilleion add welcome confirmation to the EN and MN series in Thessaly (Radiocarbon 17,2, 1975: 200-201). New dates for the Franchthi Early Neolithic confirm the earliness of the first neolithic in the Peloponnese and suggest that perhaps Q 655 from Nea Nikomedeia is not as improbably early as has been thought. One of them (P 2093) appears to be rather late, but its cultural context is not given in detail and it may be in order. Franchthi (Radiocarbon 17,2, 1975: 201-3) P 2093 4990 ± 90 Late EN P 2094 5980 ± 100 EN P 2095 030 ± 110 MN

? 3021 ± 58 FN (Radiocarbon 5, 1963: 182-3) Elateia Grn 2973 5530 ± 70 EN Monochrome Grn 3037 5410 ± 90 “ Grn 3041 5240 ± 100 “ Grn 3039* 6290 ± 110 Early Painted, EN Grn 3502 5090 ± 130 “ Grn 2454 4420 ± 80 “ Asfaka (Higgs and Vita-Finzi 1966: 22) I 1959 5430 ± 240 Possibly EN Sidari (Sordinas 1967: 64) GXO 771 5720 ± 120Earliest pottery: plain mono. GXO 772 5390 ± 180 Impressed EN Sesklo (Radiocarbon 15, 1973: 368) P 1682 5533 ± 72 Aceramic P 1681 5805 ± 97 “ P 1680 5350 ± 93 “ P 1679 5661 ± 83 Earliest pottery, EN P 1678 5477 ± 78 “ P 1677 4791 ± 103 End MN II P 1676 4367 ± 85 End MN III P 1675 4744 ± 87 MN III P 1674* 5014 ± 92 MN III P 1672 4554 ± 85 MN III P 1671 3672 ± 80 LN reoccupation (Dimini III/IV) Argissa (Theocharis 1973: 119) Grn 3502 5550 ± 90 EN Grn 2454* 4420 ± 90 EN Nea Nikomedeia (Radiocarbon 4, 1962: 69; 9,1967: 335) P 655* 6240 ± 150 EN P 1202 5607 ± 91 EN P 1203A 5331 ± 74 EN Servia (personal communication by Mrs Ridley) BM 1103 4930 ± 49 Middle MN BM 1104 4797 ± 51 “ BM 1105 4756 ± 53 MN destruction BM 1106 4740 ± 83 Earlier MN BM 1107 4656 ± 55 LN destruction (Early LN)

Kitsos Gif 1280 Gif 1610 Gif 1832 Gif 1670 Gif 1729 Gif 1612 Saliagos

144

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

145

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

146

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

147

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

148

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

CATALOGUE OF ILLUSTRATIONS All profiles are shown at a scale of 1:3. Most of the abbreviations used in the descriptions of the drawings and photographs will be obvious, but a short key is given below to avoid possible ambiguities. Where known, the deposit, stratum and inventory numbers follow the name of the site. Figures in brackets refer to other illustrations of the same sherd or vessel, and the description is only given once. “LWK” refers to an assortment of old Walker-Kosmopoulos material without labels which Dr. Williams kindly allowed me to rummage through, and which produced some fine specimens of certain wares and types. “1937” refers to the material from Weinberg’s excavations on Temple Hill, and “1959” to the large collection from his excavations of that year in the Forum West and Lechaion Road areas, of which I only examined a small fraction. “KDV” after a Lerna profile means that it was taken from a drawing by Dr. Vitelli, to whom thanks are warmly tendered. Professor Caskey kindly allowed me to study and draw representative material from his excavations, and Professor Weinberg allowed me to use the material from his Corinth excavations. Dr. Croissant most aimiably put the Neolithic material from the French School excavations at Argos at my disposal. A discussion of the illustrated pieces, and sometimes a more detailed description, will be found in the appropriate section of the Catalogue of Shapes dealing with that particular ware, shape, feature or decoration.

Fig.1

Abbreviations used in descriptions: bur = burnished grn = green bdy = body grts = grits bf = buff grtless = gritless bge = beige grve = groove bl = black hd = hard bf = buff inc = incised brk = brick red low = low brn = brown lstr = lustre brshd= brushed lt = light, pale ch = chocolate mahog = mahogany crm = cream med = medium crse = coarse mott = mottled dk = dark mt = matt fn = fine nr = near(ly) fnt = faint or = orange glsy = glossy pb = pattern burn gr = grey pnk = pink

Fig.2 pnt rd. rm scrib sft slp slur smry smth spgy st strky thk thn v w yel

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

l.

= paint = red = rim = scribble = soft = slip = slurry = smeary = smooth = spongy = stratum = streaky = thick = thin = very = with = yellow

2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

I am exceedingly grateful to the Corinth Excavations, who kindly provided the following photographs:

15.

74:25

80:1 84:12 86:1-6 87:1 92:3-5 94:1

149

Lerna bf, fn wh grts; rd-brn smeary low lstr slp out; rd same in. Nemea sft brk-bf; thin sh slip out; or slip in; smthed. Nemea spgy; rd-brn smth slp out; or-rd same in. Nemea Zervos, 319; fn bl; 1bur dk gry slp out; smth same in. Lerna pit BE, 2cd St; fn bl bur ?slp out/in. Nemea v hd bf; rd slp w dk streaks out/in. cf Blegen 3b. Nemea hd brk, fn wh grts, thn gr core; thk rd slp w bl streaks out/in. Lerna pit BE, 2cd St; hd grty gr; bge-bf bur out/in, strong bur marks out. Franchthi 123; glsy bl bur out; smth w bl bur strokes in. Lerna 1142, G 1st St; spgy; low bur rd dk bf mottl slp out/in.(KDV) Nemea smth or-rd slip out/in. Corinth LWK; fn hd dk gr; low bur rd-bf out; dk gr to bl v smth in. Corinth LWK; fn bl; dk gr to bl smth out/in; fn bur strokes in. Lerna 1147, J; bf, wh grts; low lstr bl strky rd slp out/in.(KDV) Nemea fn gr-bf; dk rd bur out; smth in (worn). Nemea fn lt bf; worn pnt out; smth in. Corinth LWK; low bur rd-bf in; low bur bf .050m band, bl below, out. Corinth 1937; spgy, wh grts; smth lt gr-bf in; bl below, out.

Tarsina hd lt bf fn grtless; lt bf bur out/in; dull rd-brn pnt in. Asea had dk bf, fn wh grts; glsy bur rd on dusky bf out, smth bf in. Nemea hd bf; low bur bf out; bright rd slp in. Ayioryitika bf; bf above, bl below, sharp line, out/in (67:15). Nemea t lt or-rd; or-rd pnt on bf out. (v atypical of site; 66:2). Nemea sft lt or-bf; rd on bf bur out/in (66:23). Nemea fn bl bur out/in. Lerna J Pebble Layer; fn gr; glsy bur tan-bge slp out/smth in; bl below. Cf Blegen pl.64, zigzag cordon. Nemea sft bf; rd on smth bf out; rd slp in; pellet. Nemea fn bl; surfaces worn, probably bl bur slp once. Ayioryitika fn hd or-rd, fn wh grts; low bur rd-brn slp out/in. Lerna pit BE, w cd st; fn grtless lt bf; thn brshd rosy slp out/in. Ayioryitika fn br; hd rd pnt zigzag out, worn (76:10). Asea Holmberg 1944, pl.IIa; rd pnt, thk low lstr slp over; pnk blobs in (68:2). Asea Holmberg 1944, fig.38b; gr, wh grts; smth-scraped bl/rd mott (68:low).

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

20. Franchthi H-37-U; dk hd; bur bl slp out, vert bur marks; horiz paring in. 21. Franchthi H-37-P; fn glsy bl bur. Jacobsen 1969, pl 95a. 22. Nemea fn sft bf; glsy bur or-rd on br out; bur ? thn wh slp in (66:24).

Fig. 3 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Nemea fn sft bf; bur rd-brn pnk & slp on bf out; smth bf in. Nemea fn bl; bl bur out/in; shallow grooves. Nemea as 2; low rib formed by two grooves; shallow rim groove. Nemea as 2; v shal grves; bur marks in. Lerna J, St on virgin soil; fn hd bl; glsy bl bur slp out; low bur in; grves. Nemea as 2. Nemea sft pnk; bur or-rd pnk & slp on bur pnk-bf; bur bf in. Blegen pl.66:15. Nemea yel-bf; low bur or-rd pnk out; smth in. Cf Blegen pl. 66:26. Ayioryitika lt pnk-bf; rd pnk & slp, rd overslp, streaky, out; slp in. Nemea fn dh dk gr; bl bur out/in. Lerna J, Pebble Layer; lt brk; rd mt pnk & slp on bur bf out/ rd mt slp in. Lerna pit AP, 1st St; hd lt brk; low lstr pnk-bf slp, dk at rm, out/in. Nemea Zervos, 118; dk gr; bl bur out/in. Blegen pl.61 N3. Lerna pit AP, 2 cd St; spongy; bur brn to dusky out; near bl in. Nemea gr fn; glsy bur tan and dk; low rib between two grooves. Nemea Zervos, 122; bf, wh grts; bur rd-brn to or-brn slp out/in. Nemea sft fn bf; thin bur rd-brn slp, fnt tool marks. Bl. fig. 3, pl.59 N12.

Fig. 5 l. 2. 3. 4. 5. 6. 7.

Nemea sft bf; rd pnk. Nemea rd on fn bf. Franchthi F/F1, 42b; v fn bl bur out/in. Nemea bright glsy bur rd pnk on smth bf-bge (66:13). Nemea bf; rd slp, worn. Nemea fn bf, small lt & dk grts; rd pnk on rm out/in. Franchthi H-37-P; thn dk brn mt pnk on smth dusky slurry. 8. Nemea fn bf out, gr in; or-rd on bur bf out; smthd gr in. 9. Franchthi FP 164; hd dk rd; dk rd on bur bge-bf. Jacobsen 1973b, fig. 3:4; pl. 49b. 10. Franchthi FP 163; hd bge-bf, wh grts; glsy bur, shows marks, out; pared in. 11. Nemea hd med fn bf; smthd out, traces thn rd slp; smthd in.

Fig. 6 l. 2. 3. 4. 5. 6.

Fig. 4 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

19.

7. 8. 9.

Corinth LWK; smth be out/in, bl bottom. Nemea fn bf; med grts, bl & quartz; bur or-rd on thn wh slp out; bur in. Nemea hd fn pnk bf; rd on bur bf out; mt rd slp in (66: 29). Lerna pit BE, 2cd St; hd brk, sh grts; mt rd pnk on mt orbf slp;bur slp in. Asea hd dk porous; med and fn wh grts; crusty wh on rdbrn bur slp. Corinth Babbius Mon; hd bf; rd slp, bl on lip. Nemea fn hd spongy; smth mt dk rd slur out; bl same in. CorinthLWK; fn sft lt rd; lt rd-bf bur out; smth in. Lerna J, St on virgin soil; rd w dk core; low bur dk rd to bl at rm; bl in. Nemea sft lt rd-bf; rd pnk out; red slp in. Franchthi FP 100; Jacobsen 1969, pl.94c right; thn slp, mott, out. Corinth 1937; fine bl bur out/in. Asea med fn rd; wh grts; wh pnk on smth rd out; smth dusky rd in. Nemea v hd fn bf; bur rd on bur bf out; smth rd slp in. Lerna J, St on virgin soil; lt or-rd, fn spongy; or-bf bur out; smth in. Ayioryitika lt rd; full wh grts; smth bl & tan mott out; smth dk in. Nemea dk gr & bf; rd-brn bur slp out; dark in. Asea (Holmberg 1944, fig. 46a) porous bl & dk rd core; crusty wh on dk bur. (Howell p.106 “Weinbergs CI” -mattpainted). FN: See note 10. Ayioryitika hd lt rd; full wh grts, spongy; rd slur out; dk smth in (67:17).

Nemea fn hd bf out, gr in; fn wh & dk grts; rd on tan-bf out; gr in. Nemea bur or-rd on bf out. Nemea fn sft lt bf; rd-brn slp out; same in rim. Nemea lt rd; or-rd on bf out; rd in rim. Nemea gr spongy, shell grt; brn-rd on lt bf out, in rim. Nemea hd bf, med wh & dk grts; or on low bur bf out, in rm (66:low). N19 Bl fig. 3 pl 67:68 Nemea fn hd spgy bf; deep flakey rd pnk. Cf. Bl. fig. 5:6. Nemea sft or-bf; md wh & dk grts; bur rd slp out. Nemea lt rd-bf, full angular wh grts; spongy; low bur dk rd on low bur bf out.

Fig. 7 l.

Nemea sft bf, fn wh & gold mica grts; bl,rd-brn in parts, low lstr pnk (66:14). Cf. Bl. fig. 5h 2. Ayioryitika fn hd or, few fn wh grts; bur even rd-brn slp, no marks. 3. Lerna J; fn bf; mt rd pnk on bf out; mt rd in neck becomes dk olive below. 4. Nemea sft lt or; rd-brn slp out; prob same, thinner, in. 5. Lerna JA, 3rd St; hd lt rd, fn wh grts; rd-brn (dk where thk) on bur bf. 6. Akrata lt porous rd, full fn wh grts; bur brnish-rd pnk on bur thn wh wlp (67:3). 7. Lerna pit BE, 2cd St; fn or-rd; rd-brn mt on bur yel-wh slp out; bur bf in. 8. Nemea bf, many fn wh grts; thn off-wh slp out; smth in. Bl. pl.64:16. 9. Ayioryitika hd med fn bf; rd-brn slp out, in neck. 10. Lerna J, Lerna I; fn hd rd; thn rd slp on bf out, in neck. 11. Franchthi FP 49; Jacobsen 1968 pl. 95b right; grty or-tan; thn bur rd Assigned units p. 65 p. 150-151 “rounded bottoms.”

Fig. 8 l. 2.

150

Nemea rd bur; round section handle. Nemea rd slp on bf; knob on bend, broken both ends (68:10).

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Nemea or-rd bur ? spl inside; smthd under; tip missing (67:10). Nemea sft or-rd; rd slp out/in, worn. Nemea coarsish red. Lerna JA JB 2cd St; spongy; rd bur. Nemea fn bf; rd slp in; pnk out, too worn to make out. Nemea fn dk gr; bl & dk rd brn bur out/in (67:14). Nemea hd porous gr-bf, spgy; smth brn-bf out; strong horiz pare marks in. Nemea gr core; thk bf outer layer chipping off; surface eroded (68:9). Nemea gr-bff; bf skin, traces or pnk, worn (67:10a). Nemea fn sft bf, fn dk grts; rd slp. Nemea spongy, rd w gr core; mt dk rd slur out/in. Corinth LWK; med coarse bl; bl bur out/in; round section handle. Nemea hd coarse bf; rough slur out; scraped and gouged in (68:8). Nemea rd on bf out; smthd in; spout broken (67:9). Nemea fn hd bf; rd on bf out; rd ? slp in, smth. Nemea rd spongy; v smth rd ? slp. Nemea dense hd rd bf; thk dk flaking pnk on bur bf; roughish in (67:11). Nemea hd coarse bf; rough slur out; scraped, gouged in (68:4). Nemea fn lt bf; smth lt bf out, sharp grves; scratch-wiped in (68:5). Nemea fn yel-bf; traces rd slp in neck; outside worn. Nemea Zervos, 286; smth or-rd pnk on warm bur bf; restored rm. N8 Bl. pl. 63. Lerna A JB, 3rd St; hd, full big angular grts in; smth bf slur out. Nemea hd bf, few fn grts; fn lt bf slur out; smth, few paregrves in. Nemea lt rd hd; glsy bur rd on brn-bf; rough under (66:36).

23. Nemea sft gr-bf; bf slur out; smth dusky bf in. 24. Lerna see low:L. 25. Corinth 1937; bur dk gr in; bur lt bf-gr out; smth lt gr under. 26. Nemea fn hd bf; low bur rd-brn ? slp out, and under (treated as out). 27. Nemea fn hd bf, few wh grts; bur or pnk (red where thk) on bur bf out; pnk carried onto smth-pared inside. 28. Nemea lt rd sft fn; worn rd out; same on rough inside. 29. Nemea fn hd dk gr; bl bur out; fn smth-scratched in. 30. Nemea spgy red, bl core (cf. 66:32). 31. Nemea med coarse lt rd; shell grt; smthd out/in. 32. Nemea dk rd spgy; low bur dk rd & bf. 33. Nemea rd, much fn silver mica, no wh; bur rd-brn out/in. 34. Lerna J, 1st St; gr grty, bf skins; smth out/in. 35. Nemea spgyp bur dk rd out; smth in. 36. Corinth LWK; warm bf bur out & .010m band in lip. bl below in.

Fig. 10 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

Fig. 9 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Nemea bf; low bur rd-brn slp. Nemea spongy; dusky rd slur out; smth bl in. Lerna pit BE, 2cd St; fn spgy cream bf, bl core; bur out; smth in. Lerna pit AP, 2cd St; spgy; brn bur. Nemea fn bl bur out/in. Lerna J, Pebble Layer; hd rd, wh grts; thk mt dk rd slp out/in. Nemea fn lt bf; rd-brn slp. Lerna JA, 3rd St; lt bf; lt bf bur out; bur in. Lerna JA, 3rd St; sft grtless br; thn bur or slp. Nemea fn bf; bur rd-brn slp; rim as 3:15. Nemea fn sft dk bf; bur dull rd slp out/in. Lerna JA, 3rd St; fn dk gr; glsy bur bl. Nemea fn bl bur. Nemea hd lt rd-bf, wh grts; low bur rd-brn slip out. Nemea fn bl bur out/in. Nemea fn pnk bf; rd-bf slp out & under; worn, pitted in. Nemea sft bf; rd slp in, worn. Nemea fn hd grtless bf; gr; glsy bl & pale mott slp out; bl worn in. Corinth 1937; smth lt bf out/in. Corinth 1937; fn bl bur. Corinth 1937; v fn hd grtless lt gr. Corinth 1937; dk gr; sharp tubular perforations made before firing.

15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

151

Nemea dk bf spgy; bur dk rd on less bur dk bf; rm as 2:6. Nemea fn bf; bur or-rd on bur bf out; mt rd slp in; rm as 3:L. Nemea rd on spgy bf (66:21). Nemea lt rd; thk dk rd on bur lt rd; rm as 4,10 (66:20). Nemea rd on smth bf; rm as 6:5. Nemea rd-bf spgy; rd on bf out; low bur in; rm as 4:11 (66:4). Nemea rd on bf out; smth rd slp in; rm as low:5. Nemea dk brn on bf; body. Nemea red on bf; body. Nemea thk coarse gr; brn pnk; body. Nemea dk crusty pnk, blobs from end of brush; body (66:28). Nemea rd on bf; body. Nemea rd on bf; body. Nemea rd on bf out; rough in; wall of large 4;22 (cf. 66:5.12). Nemea or-rd on bf; body. Nemea rd on bf out; rough in; body (66:30). Lerna pnk bf; overall rd slp over rd pnk out; rd slp in. rm as 4:4. Akrata fn dk rd; bur rd on thk bur cream slp; rm as 2:2 (67:2). Akrata fn lt rd; rd on thn cream slp; prob askos frag (67:low). Akrata as 19 (67:0). Akrata as 19 (67:7). Akrata as 19, but wall of large jar (67:6). Corinth from Weinberg 1937, fig.7h; Zervos, 328. Corinth from Weinberg 1937, fig. 7f; Zervos, 331. Redon-White. Lerna J, Pebble Layer; mt bl on cream bf out; rd-bf slp in; rm as 4:13. Lerna J D & E; lt rd, few wh grts; mt rd-brn on bur cream slp out; body. Nemea spgy brn-bf; low bur dk rd pnk, mt cream over rd out; body as 10:34 (cf. 66:19). Nemea bf; bur cream slp on bur rd slp; rough in; body. Akrata fn hd lt or-rd; mt wh on bur rd-brn out; bf-tan, bl in; rm as 2:4 (67:4). Asea see 4:5.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

31. Asea coarse; wh on bur rd slp out; smth rd slp in; body of big pot. 32. Asea or-brn spgy; smth thk wh on bur rd-brn ? slp; body. 33. Asea from Holmberg 1944, pl. I, i. 34. Ayioryitika sft lt rd-bf; mt cream on rd-brn slp out; rd-brn slp in. (76:9).

5. 6. 7.

Fig. 11

10.

l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

8. 9.

CorinthLWK; low lustr bl on lt bf out; bl & rd-brn slp in. (69:23). Corinth1937; lt pnk-gr, fn; mt thk ch slp out/in, rd below. Corinth1937; low lustr mahog slp out/in. CorinthWeinberg 1937, fig.18f; bichrome, ch & or pnk on bf in; mt bl out. Lerna J-A; rd slp out; rd & bl pnk on rd-bf in. Corinth1937; hd dk gr; mt bl slp out/in. Asea Holmberg 1944 fig.55d; lt bf; mt brshd dk mahog out; low lustr rd pnk in. Akrata 1085; strky brshd bl out; smth mt ch on bf in (24:4; 72:4). Corinth1937; strky mahog slp out/in. Lerna 1145; low lstr smry or-rd slp out; rd-ch pnk, thn linear decor, in. Lerna 1382, pit BD-C; low lstr rd & bl slp out/in. (KDV). Ayioryitika 2268; hd lt rd; smry bl-tan-mahog mott slp out/in. Corinth 1937; bf; strky bl out & on rm; smth bf, no slp, in. Corinth or-bf, bl strks, out; rd pnk, multiple horiz zigzags, in. Kouphovouno (77:6). Ayioryitika hd lt rd; low lstr rd slp out/in. Corinth 1937; rd slp, bl strks, out/in.

11. 12. 13. 14. 15.

Fig. 14 l. 2. 3. 4. 5. 6. 7. 8. 9.

Fig. 12 10. 11.

l. 2. 3. 4. 5.

Akrata 1053; thk brshd bl out; bl on warm bf in (71:2). Ayioryitika thn slp out; or-rd pnk on bf in. Tarsina sft lt bf; rd-brn slp out; rd-brn pnk on lt bf in. Kouphovouno fn bf; rd-brn stroke-bur out/in. (77:10). Akrata 970; brshd mahog slp out; wide bl & th or-brn pnk in (24:6). 6. Ayioryitika lt bf; bl smry slp out; low lstr bl smry pnk, overslip, in (24,low). 7. Ayioryitika 2273; lt bf; lstrous brshd mahog slp out; bl & mahog pnk in (24,2; 73,5). 8. Lerna Pebble Layer, J; dull rd slp, bl patch out; bl w rd strks in. 9. Franchthi Jacobsen 1969, pl.97a. (KDV). FP 96 fig. 60c FCP 2.4 10. Ayioryitika 2283; lt rd; low lstr bl slp out; bl on bf in. 11. Franchthi F/F1 32; mk dk smry slp out; thn, brshd, in. 12. Franchthi FP 53, Jacobsen 1969, fig. 6:2; low lstr rd-brn & dk slp out/in. (KDV). fig 48g FCP 2.3.

12. 13. 14. 15. 16. 17.

2. 3. 4.

Klenia low lustr or-rd, olive bur strokes out; dusky tan tooled/pared in. Ayioryitika lt rd; bl on bf out; bl brshd in. Franchthi thn mt brn slp, tool marks. v ? Lerna 1612; Caskey 1959 pl.41c; J-C; thk mt even rd slp out/in. (KDV). Lerna 1036, unphased; fn gr-tan to rd-bf at rim; low lstr slp out; plastic. Franchthi smth dusky bf, spongy. Corinth1937; or-rd slp overall. Lerna J-E; dusky bf; thn overall slp, lightly bur after slipping. Klenia fn yel-bf; low lstr thn brshd or & dk slp out; same mt in. Asea fn pnk-bf; rd pnk on yel-bf out; dull rd slp in. Corinth 1937; Weinberg 1937 fig.20c; ch pnk on bf out; mt mahog slp in. Franchthi F/F1 30; rd & darker pnk on bur bf out; thn rd slp in. Franchthi fn hd bl; lstrous deep bl slp out; V.? tooled in. Lerna J-A; thk low lstr rd-brn slp out; mt olive in; plastic mark. Lerna 773, J-E; Zervos, 132; low lstr strky rd & bl slp out/in. (KDV). Ayioryitika lt rd; rd pnk on bf out; thk dk rd in (78:6). Franchthi F/F1 36; thk crusty bf pnk out; dk mahog in. V.?

Fig. 15 l. 2. 3. 4. 5.

Fig. 13 l.

Ayioryitika fn sft or-rd; bl pnk on lt rd-bf out. Akrata 1084; thn mt bl on warm bf; rest. from 3 frags. Corinth 1959; hd bl; brshd bl slp out & on rm; smth scraped in. Gonia fn lt rd; strky rd slp out/in. Kouphovouno ch pnk on bf out/in; brshd mahog slp below (77:18). Ayioryitika 2274; bl pnk, brshd mahog overslip out; brshd mahog in (73:4). Ayioryitika 2271; thk low lstr or-rd pnk out, thn overslip; thn or slp in. Lerna 1724, J-G; lstrous bl strky slp out/in. (KDV). Franchthi FP 131; lt crm, fn rd grts, pitting; low bur and faint scratches. Fig. 34e FCP 2.2. Lerna J 865, J-A; rd-bf; low lstr dk rd to mahog, undulant bur marks under slp. Asea Holmberg 1944, fig. 38a; hd lt rd; lt rd & bf mott, vert pared. 2 vert. squared perf.lugs (Forsen 44, ns.50,51).

Ayioryitika bl pnk out, rd to mahog overslip out; mahog slp in (69:32). Lerna 1064, J-BUR; Zervos, 325; gr, wh grts; low lstr gr slp, dk gr pnk. (KDV). Lerna Pit BE, 2cd Str; lt rd, wh grts; mt dk slp out/in; plastic crescent. CorinthLWK; fn lt bf; mt brn on smth bf out; brshd mt brn slp in (69:25; 74:22).

6. 7. 8. 9.

152

Lerna J-BUR; lstrous strky dk mahog out. Lerna J-D; fn hd bl; bl bur slp out. Lerna J-A; lstrous deep rd slp, ghost (wh) pnk, out; mt slp in. Corinth1937; low lstr or-mahog; out; mt dk rd-mahog in. Lerna 1391, HTN; Caskey 1958 pl.38d; brshd bl-olive on lustrous bf out. (KDV). CorinthLWK; brshd lstrous lt mahog slp out; mt rd slp in. Akrata 1080; low lstr bl on warm bf out; smry mt band in rm (72:2). Asea Holmberg 1944 fig.62b; coarse rd to dk; low bur mott bl-burn-rd out (73:6). Akrata 969; fn gr; low lstr mott bl & tan strky slp out; 4 pellets (72:5). F. 48 + 5 EN 2 pairs vp lugs.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

10. Akrata 1081; bl to or on bf out; plain in (72:low). 11. Lerna 1037, J Room 15; strky slp, rd & bl patches out; rd bf in. (KDV).

9. Argos 8654; fn,gr core, bf skins; thn brshd rd & mahog slp out; smth in. 10. Ayioryitika bl on warm bf (69:31). 11. Asea brshd brn w bl patches out; rd-brn pnk on yel-tan slp on tm. 12. Lerna 442, J, mixed fill; yel-bf; bl pnk on bur lt bf out; rd pnk/slp on rim, in. 13. Ayioryitika lt gr-bf; rd slp w dk streaks out & on rim. 14. Asea ? Holmberg 1944, figs.52. 53a; brshd mahog out/in; or to bl on rm. 15. Franchthi F/F1 26; ch on low bur warm bf. cf. 20q for motif (rim pendant). 16. Lerna J, mixed fill; bf; bl stroke bur on dusky slp.

Fig. 16 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12 13. 14. 15.

Corinth1937; bl slp w mahog streaks out/in. CorinthWeinberg 1937 fig.15e; strky dk ch slp out; or-rd in. Franchthi F/F1 20; dk bf; low lstr th dk slp out/in, patt bur decor out. Lerna 1244; J Rm 15; olive & tan streaky slp out/in, dk pnk marks on rm. (KDV). CorinthWeinberg 1937 figs.8b 11; or-brn w ch steaks out/in. Franchthi 125; dk slp to carination, rd below, lstrous bl strokes out. Corinth Weinberg 1937 fig.15; thk mt dk slp out; rougher in. Corinth1959; rd & brn strky mahog. Franchthi F/A balk; rd, bl core; bl bur strokes on dusky br out; strky bl in. Corinth LWK 1948 pl. Ib; bl pnk on bf out; thn bl to or-rd in. Ayioryitika lt bf; dk strky mahog out, & in rim; rd below in. Franchthi F/F1 32; ch on bf out; same, mt slp, in. 112b. Lerna 1227; J-C; or-rd slp out/in, inconspicuous stroke bur. (KDV). Akrata 968; th ch to or pnk on bf out; same slp in (71:4). Franchthi Jacobsen 1969 pl.95c; Theocharis 1973 pl.51; brn-bl pnk on bf, strky below out. (KDV). 109.

Fig. 19 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Fig. 17 l. 2. 3. 4. 5. 6. 7. 8. 9.

Ayioryitika 2270; or pnk on smth bf out; thk or slp on tooled, in (70:3). Ayioryitika 2272; smry bl on lt bf, thn overslp out; bl & or in (70:low). Franchthi Jacobsen 1969 pl.95c; Theocharis 1973 pl.49; brn-bl pnk & slp out, thn strky in. (KDV). Asea Holmberg 1944 fig.54b; pl. IIIb; strky bl on mt dusky bf (70:2). Ayioryitika 2269; bl on dusky gr out; bl strky mt slp in. (73:2). Ayioryitika 2278; bl on bf, thn overslp out; bl & mahog strky in (73:2). Asea Holmberg 1944 fig.49b; pl.IIIa; bl on tan, thn overslp (70:7). Corinth1937 fig.20a; or-rd & dk pnk on bf out; thn dk rd in. Franchthi brn spgy.

Fig. 20 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Fig. 18 l. 2. 3. 4. 5. 6. 7. 8.

Corinth1937. Klenia lstrous dk slp, rd where thn (on lip). Nestor’s Cave fn bf, wh grts; low lstr rd-brn pnk on smth bf out/in rm. Lerna 1713; tan & bl mott, w bl stroke bur. (KDV). Corinth1937; rd strky out; dk strky in. Gonia bf; lt rd slp out; dker in. Corinthlt olive-bf, dk strks, out; bur or-rd in neck. Kouphovouno ch pnk on lt rd out; same brshd in neck; worn. Kouphovouno bl pnk on bf out; or-rd in neck. Corinth 1959; ch on warm bf out; dk mt slp in. Corinth Babbius Monument; bl on dusky bf (cf. 69:7; 74:17). Akrata thn brshd slp, thk crazed pnk, bright rd above, bl below line. Ayioryitika strky bl slp. Ayioryitika dk strky mahog out; or-rd in neck. Lerna 1362, it BUR-D C; Caskey 1958, pl.37d; bl & rd crackled slp (KDV).

12.

Lerna pit BE 2cd Str; hd fn rd, mica; brshd slp, bl patches, out; or-bf in. Asea fn hd gr core, bf skins; low lstr or, bl strks, out/in. Ayioryitika dk mahog strk out; thn rd & bl slp on scraped in (73:3). Asea low lstr rd-brn out/in; rd-brn pnk on crm slp on rm. Lerna 1232, J-E; nr mt rd & bl smry slp. (KDV). Lerna J-A; low str; thk rd slp out; mt same under lip and in. Lerna A 454, mixed fill; bright or-brn slp. Franchthi F/Fl; v smth or-rd on smth bf out; thk mt overall in.

13. 14. 15. 16. 17. 18. 19.

153

Kouphovouno rd-mahog pnk out; or-rd in neck (77:11). Kouphovouno or-rd slp. Lerna J-A; or-brn on bf. Franchthi bl on bf bur out; thn smry mt in. Franchthi F/F1 25; smth ch on bf. CorinthWeinberg 1937 fig.8c; fn hd lt bf; or to bl strky slp out, in neck. Kouphovouno mahog pnk out; strky slp in. Franchthi A 20; ch on pnk-bf out & in neck. Franchthi C/C1 30; ch on warm bf out; or-rd in. Ayioryitika 2287; v dense lt gr; mt bl slp out; mt rd rm band, olive bl pnk in. Franchthi FA unstratified; dk gr; ch on dusky bf mt slp out; bl in neck. Lerna 728, J-A; lt rd; low lstr rd brn & dker; mt same in neck. Kouphovouno rd-ch pnk on bf out; lt mahog in. Ayioryitika bl on bf out; thn rd in neck. Tarsina lt rd, wh grts; dk mahog brshd slp out; thinner in. Franchthi FP 97 Jacobsen 1969 pl.95b. left. low lstr rd-brn slp. G7a. Corinth 1937; sft lt rd; thn dull rd to dk out; or-rd in. Ayioryitika rd-brn pnk out; thn or slp in neck (76:4). Corinth LWK; deep mahog w bl bur strokes out; duller in.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

25. Kouphovouno brshd mahog out/in, thn vert bur strokes; large cut out (72:3). 26. Lerna J-A; fn grtless bf; low lstr bl on dusky bf out; same in rm, smthd below. 27. Ayioryitika bl on bf out/ roughish under w thn rd-brn slp. 28. Corinth Weinberg 1937 fig.8e; mahog, vert stroke bur out. 29. Franchthi fn hd gr; dk stroke bur out, horiz at foot & neck; cut out. 30. Franchthi Jacobsen 1969 pl.97a. (KDV). 31. Franchthi FP 51, Jacobsen 1969 pl.97a; thk low lstr rd slp (KDV). 32. Lerna 1450, HTN Late Phase; Caskey 1958 pl.38 e,f; lstrous striky rd (KDV).

Fig. 21 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

CorinthBabbius Monument; bl on dusky bf. Franchthi F/F1 35; mt rd-brn to ch on smthd bf out; same rd in. Lerna pit BE-D; bl on dusky bf. Ayioryitika bl & mahog slp, fn incised neck line. Corinth1959; bl to or pnk out. Ayioryitika 2284; sft or bf; brn-bl on bf, thn overslip out; smry in. Corinth1937; dk smry slp out, and down to .200m in; spattered below. CorinthLWK 1948 pl.IIa; low lstr or-rd pnk on smth lt rd. Ayioryitika bf; bl pnk out; bl & rd in neck. Franchthi FP 127; fn dk gr; bl bur slp out; mt bl rm band in. Corinth 68-290; hd lt rd; ch pnk, lt smry overslp out; smry in (74:25). Ayioryitika 2676; sft lt rd; or-rd bur slp out, same in neck; handle. Ayioryitika 2269; hd lt rd, spongy; rd-brn slp out; scored in (70:8). Asea Holmberg 1944 fig.43; strky rd & mahog out/in; broken tab (70:4). Ayioryitika (78:4). Ayioryitika bl on pnk-bf; broken perforated flange in (76:6). Lerna J-A; hd, dusky rd, wh grts; bl mt pnk on bur tan out; bur tan under. Lerna g 44, unphased; hd lt rd, few sh grts; low lstr rd slp. Lerna 1061, J-C; Caskey 1957, pl.47d; Zervos, 322; rd pnk on bf, mahog below (KDV). Ayioryitika typical urfirnis ware; rd pnk on bf (76:11).

Fig. 23 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47.

Fig 22 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Corinth1937; low lstr bl slp. Corinth1937; ch pnk on thn or-mahog slp out; rough in. Klenia thk brshd low lstrd to dk slp. Kouphovouno. Lerna J-C; lstrous brshd bl slip out; smth lt tan slp in. Ayioryitika lstrous thk bl slp out; bl & mahog strky in (76:2). Corinth1937. Tzivas-Goumaradhes lt rd; surface worn out; lstrous bl slp in. Argos 9663; dusky gr; dusky brn slp out/in. Kouphovouno fn lt bf; or-rd slp out/in. Franchthi. Corinth Babbius Monument; fn bf; brshd dk rd slp out/in. Tzivas-Goumaradhes fn lt rd; bl & or strky slp (cf. 76:12). Klenia fn hd rd; smry dk & or slp out; rough under. Corinth Babbius Monument; bl on bf, thn overslip. Corinth 1937; or-bf slp overall, except under. Kouphovouno or-rd slp w dker strks out/in. Corinth Babbius Monument; rd slp, dk strks out; bl on bf pnk decor in. Corinth horiz mahog stroke bur. Corinth 1937; dense lt rd; ch strky (horiz) slp. Lerna J-BUR; mt rd-brn slp out; same under, rougher. Corinth Babbius Monument; bf; dk mahog slp out; perf before firing. Klenia bf; nr mt rd slp out; smth br in & under. (cf. 76:13). Corinth 68-325; hd dusky bf; lstrous dk brn slp out; smth slurry in.

154

Lerna v. 15:11. Lerna J-C. Lerna J-C. Lerna v. 19:15. Lerna v. 15:2. Lerna v. 19:15. Lerna v. 19:16. Lerna 1719, J-D; shape as 15:11. Lerna J-E; shape as 14:8. Lerna 1363, BD-C; low collar jar. Lerna shape as 14:8. Lerna J-G; shape as 14:8. Lerna v. 14:5. Lerna v. 16:4 (painted marks). Lerna v. 13:12. Corinth 1959. Ayioryitika low lstr even ch slp out; brshd bl in (76:8). Ayioryitika cf. 13:9 (69:29). Corinth v. 16:10. Corinth v. 19:10 (cf. 69:7). Corinth 1937; thn lt ch on lt bf; pitcher rm. Corinth LWK; bl on bf; jar rm (69:21). Corinth v. 19:11 (cf. 69:2; 75:6). Corinth LWK; v. 21:8. Corinth LWK; v. 21:8. Corinth v. 19:L. Corinth ch on bf; shape as 16:10 (cf. 77:2). Corinth 1937; ch on tan; shape as 19:7. Corinth LWK; or & ch on bf bur (69:low). Kefalari Felsch 1971 fig.3. Ayioryitika bl on bf, inside; shape as 16:10 (75:14). Corinth 1937; bl & brn on dk gr; shape as 15:4 (cf. 69:42). Ayioryitika rd brn on bf; shape as 15:4 (69:30; 75:L.28). Corinth Weinberg 1937 fig.20b. Franchthi FA 11; ch on bf; shape as 17:8. Corinth Babbius Monument; or-rd on bf; shape as 15:10. Franchthi ch on pnk bf; shape as 15:10 (cf. 69:39). Franchthi F/F1 36; ch on bf; shape as 15:5. Franchthi F/F1; mt ch on smth bf; shape similar to 16:11. Lerna Caskey 1958, pl.36f (cf. 75:8). Franchthi FP 121; low lstr ch on bf; shape as 11:3. Franchthi Jacobsen 1969 pl.96c (cf 75:22). Lerna J-BUR; bl-brn on bf; jar belly. Akrata 1093; bl on bf; shape as 16:14 (71:3). Corinth Weinberg 1937 fig.17b. Franchthi H 37 ; bl on bf. Franchthi H 37 ; bl on bf (cf 69:35).

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

48. Franchthi jar body. 49. Franchthi . 50. Corinth Babbius Monument; ch on bf; shape as 22:18, inside. 51. Corinth 1959; mt bl on bur bf (almost Matt Pnk); body frag. 52. Corinth 1959; or brn on bur dirty bf; belly frag. 53. Corinth 1937; low lstr red on crm-bf; body frag. 54. Corinth rd & ch on bur rd; shape as 15:6. 55. Ayioryitika bl w mahog band, inside; shape as 11:3 (75:21). 56. Corinth 1937; bl & rd on bf out/in; shape as 12:3. 57. Corinth 1937; bl & or on bf; shape as 16.12. 58. Kouphovouno ch & rd on dusky bf; base as 22,11. 59. Franchthi F/F1 30; thn bl scribble bur on dk mt slp. 60. Corinth 1937; bl on bf; shape as 14:14. 61. Corinth Weinberg 1937 fig.19b; dk bur lines on dk brn-bl mott slp; as 16:10. 62. Lerna HTN; dk strokes on or-brn slp; rm similar to a5:5. 63. Lerna J-G; pattern bur; on rm as 15:5. 64. Lerna J-G; pattern bur; on rm as 15:5. 65. Ayioryitika ch on bf (69:44; 78:5). 66. Franchthi FP 54, Jacobsen 1969 fig.6:4; bl on bf. 67. Corinth 1937; v. 22:7. 68. Corinth 1937; bl on dk bf; section as 23:66. 69. Corinth 1937; ch on bf; as 22:15. 70. Corinth 1937; ch on lt bf.

20. Corinth Forum West 70-245; dense bl; bl bur out/in. fig 4:23. 21. Franchthi F/A 117N; fn hd bl; strky bl bur out; scraped in. Cf. Fr 7b&c. 22. Corinth 1937; fn; bl bur out; med gr smth in. 23. Corinth 1937; nr bl bur out; smthed in. 24. Corinth 1937; sft lt pnk; brshd bl slp out, crisscross. 25. Alepotrypa dk lumpy; dk mahog bur out (101:20). 26. Corinth Forum West 70-354; hd dsky bge; tan & dk bur out; dk tan bur under. pl.108:24. 27. Corinth Forum West 70-226; fn crm, bl skin out; bl bur, tan patches out; 26 crm in. fig. 4 pl. 111.

Fig. 24

13.

l. 2. 3. 4. 5. 6. 7.

Fig. 26 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Ayioryitika v.12:6. Ayioryitika v. 12:7. Franchthi FP 119, sketch only. Akrata v. 11:8 (72:4). CorinthLWK; frag of large bowl, restored. Akrata inside of 12:5; wide bl lines and narrow or-brn lines on bf. Asea restoration on paper of Holmberg 1933 fig.55a,bur.

14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Fig. 25 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

Alepotrypa fn hd bl; bl & tan out; nr bl bur in. Corinth1937; dense bl stone; bl bur out; dk strky in. Corinth1937; dk brn bur out; notched lip. Corinth1937; dk bur out/in. Corinth1937; crse hd; bl bur out; brn in. Corinth1937; dk bur out/in. Corinth1937; sft lt pnk bf; fn dk brshd slp out/in. Corinth1937; bl bur slp. Corinth1937; rd brn bur out; bl pb in. Alepotrypa dk gr; bl bur out/in. Alepotrypa dense bl stone; bl bur out/in. Corinth Forum West 70-248; fn hd; bl bur out/in; strky tan out. Alepotrypa bl stone; bl bur out/in. Corinth 1937; bl; bl bur, thn parallel strokes, vert out, blique in. Corinth 1959; fn hd; nr bl bur out/in. Nestor’s Cave fn bl, red skins; thn bl brshd slp; wh pnk on lip. Corinth Forum West 70-246; bl bur out; smth gr in; lt gr crsty pnk out. Corinth Forum West 6489; hd bl; bl bur out & lower in. Kouphovouno fn dk gr; v lstrous bl bur, clear marks.

Corinth 1937; gr core; bl bur out; gr in. Corinth1937; bl bur out/in; fnt burn ripple. Corinth1937; bl & tan mott, ghost pnk out; bur or-gr in. Corinth1937; bl bur out/in. Corinth68-299; dense fn bl; silvery bl bur out; smth in. Corinth69-31; dense fn bl; silvery bl bur out; smthed in. Franchthi F/F1 bask 22; hd porous bl; strky bl bur, ghst pnk out/ strky bl in. Fig 11b. Corinth Forum West 6487; bl bur out/ strky in. Corinth1959; dense fn med gr; thn brshd bl slp out/in. Corinth 1937; gr; graces dk bur out; gr slur in. Corinth Forum West 70-285; dense bl; bl bur, wh pnk out. Klenia bl bur out/in; fn oblique burn grves; traces wh pnk; handle root. Corinth Forum West 70-242; dense bl; 22 fig.4 pl.108. bl bur out/in; fn dk crusty pnk. Corinth 68-168; fn hd tan-gr; dk bur, wh pnk out; less bur in. Corinth 1937; dk gr; dk brn bur out. Corinth 1937; bl bur. Corinth 1959; dense hd dk; dk brn bur out/in. Franchthi FP 110; hd porous dk to rd; glsy bur bl-mahogtan out; dk tan pb in. Hm: cf. 29f fig. 35h p.58. Corinth 1937; bl out (worn); gr in. cf Fr1a. Corinth 1937; pnk core; bl bur. Corinth 1937; bl bur. Corinth 1937; bl.bur. Corinth 1937; med fn gr core; dk gr slur out/in. Corinth 1937; bl. bur.

Fig. 27 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

155

Asea bl, bf skins; bur brn tan w bl strks out/in. Franchthi F/F1 bur. 20; dense fn gr; glsy bl bur, gr top out; scrib bur in. Corinth Forum West 6479; fn bl bur out/in. Corinth P. of Apollo fn dense dk gr; bl bur out/in; pelet. Asea fig. 48; hd fn bl; patchy bl bur out/in; ghost ? wh pnk. Corinth Forum West 70-330; BCH 95, 1971, 857. fig.117; bl bur. 20 fig.3 pl.108. Corinth1937; bl bur out/in. cf. Fr6 a, c. Corinth1937; tan bf, bl bur strks & patches out/in. CorinthLWK; dense gr; tan bur out; tan w bl patches in. Corinth 1937; bl bur out/in; traces scratched decor. Corinth 1959; 143; bl bur, plastic strip. Corinth 1937; bl & bf, incised decor out; dk gr smth in. Corinth 1937; bl & bf, grve decor out; dk gr smth in. Argos C 8615; lt rd, wh & dk grts; dk rd strky slp out in.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

15. 16. 17. 18. 19. 20.

Corinth 1937; fn rd-brn brshd slp out/in/under. Klenia dk hd crse; bl smth slur out/in (93:4). Corinth1937; or rd; rd slp out/in; grve decor. Corinth LWK; bl bur out/in, tan patch under; grve decor. Klenia dense gr, med grts; bright rd bur slp, rim incised. Corinth Forum West 6490; dense bl; bl bur out/in.

13. 14. 15. 16. 17. 18. 19.

Fig. 28 20. 21. 22. 23.

l. 2.

Corinth1937; dk gr; glsy bl bur slp out; tan in. Corinth Forum West 70-291; v fn dk gr; bur tan smry out/in; reserve ? wh pnk. 3. Corinth1937; bl bur below rm out; smth crm-gr-bf on rm & in. 4. Alepotrypa hd gn porous bl; bl bur out & in rm. 5. Corinth Forum West 70-151; bl & dk rd/mahog mott bur out; smth bl in (92:5). 27 fig.4 pl.108. 6. Corinth Forum West 6479; bl bur. 7. Corinth Forum West 70-215; or-rd to dusky, overfire; worn bl out/in; faint ripple & bead decor. 30 fig.6, p.111. 8. Corinth Forum West 70-143; bl bur, tan patch out. 9. Kouphovouno dense brn, little quartz, grog, wh grts; dense mt bl slp out/in. 10. Corinth P. of Apollo; C.66-166; dense dk gr, bl, wh grts; taces glsy bl bur slp; fn incised wh filled decor; traces red pnk under lip. 11. Corinth Forum West 70-332; dense dk fn; glsy bl & dk tan bur, wh pnk. 28 fig.5 pl.111.

24. 25. 26. 27. 28. 29.

Fig. 31 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Fig. 29 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Corinth 1937; gr. Corinth 1937; gr; notched lip. Corinth 1937; gr. Corinth 1937; gr; shallow notched lip. Klenia hd fn; dk gr bur out/in. Argos gr w tan tones, smth. Klenia sft med gr; low bur out/in; fnt rippling; broken pedestal ground smth. Corinth 1937; gr. Klenia med gr. Corinth 1937; smth bf gr; lt paring marks; rough under. Alepotrypa lt gr, crse grts; well bur; incised after firing (? recent). Corinth 1937; gr slur. Corinth 1937; md dk gr slur; tool marks in. Klenia dk gr bur out; rough under (91:5). Corinth 1937; dk gr-tan. Corinth 1937; gr. Corinth 1937; crse, sft; smth bf-gr.

Corinth Forum West 70-271; dusky & rd; tan & bl bur, tn wh pnk out; rd brn in. Klenia bl bur out in; reserve matt ?pnk line out. Franchthi F/A balk 117N; fn bl; bl bur, ghost pnk out; low bur gr in. cf Fig.6k. Corinth Forum West 70-547; fn dk gr; bl bur, wh crsty pnk out; dk gr in (92:2). Corinth 1937; bl bur out & in rm; dk brn below, in. Corinth 1937; bl bur. Corinth 1937; lt rd core; bl bur out/in. Franchthi F/F1 bur.22; bl; patchy bl bur, wh pnk out. Fig.11a. Alepotrypa fn bl; glsy bl bur, gr patches & strks. Corinth 1959 177; bl; bl bur, fn tool marks out. Alepotrypa fn bl; glsy bl bur, gr patches & strks. Alepotrypa Hauptmann 1971 fig.54b; fn gr; bur bl-gr-crm mott out; gr in (90.low). Alepotrypa lt rd, bl skins; dk brn to bl bur out; tan to bl in.

17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

Fig. 30 l. 2. 3. 4. 5. 6. 7. 8. 9.

Corinth1937; gr. Corinth1937; dk brn; notched lip. Corinth1937; grn-gr; notched lip. Corinth1937; gr. Corinth1937; fn gr. Klenia grnish gr. Corinth 1937; med fn gr; dk gr out; smth gr in. Corinth1937; roughish gr. Corinth1937; fn hd lt gr; low shine out/in; dk purplish-rd mt pnk on rm. 10. Corinth 1937; fn gr; notched lip. 11. Corinth 1937; gr. 12. Corinth 1937; gr slur out/in.

Corinth1937; fn gr slur out/in. Corinth1937; crm gr slur. Corinth1937; gr smthed out; smth in. Corinth1937; gr bur out; smth in. Argos C 9484; med gr, wh grts, mics; smth out/in. Corinth1937; gr. Corinth1937; gr; vert pierced lug. Corinth1937; smth gr out/in. Corinth1937; dk gr bur out/in. Corinth 1937; gr; shallow grves in rim. Corinth 1937; smth bf gr. Klenia med crse; bl bur. Corinth 1937; smth gr; fnt bur lines; root of high handle. Klenia gr. Corinth 1937; gr. Corinth 1937; gr; smth out, marks in; scratched/stamped decor; notched rm. Corinth 1959; fn dk gr bur out; smth in; shallow grves. Klenia med gr. Corinth 1937; dk gr smth out/in; vert incisions, spacing not sure. Corinth 1937; fig. 27d; cf. Zervos, 375; lt gr. Klenia med dk gr, fn wh grts; low bur out/in (91:low). Corinth 1937; fn med gr; tan to tan-gr bur out; lter in; incised. Corinth 1937; fig 27a; Zervos, 377; as 23. Klenia dk gr bur out; smth in. Corinth 1937; med gr. Corinth 1937; dk out; gr in; scratched. Corinth 1937; gr; pricked rim. Corinth 1937; gn hd med gr; bur. Corinth 1937; fig 27b; Zervos, 376; med fn gr; as 23; grves.

Fig. 32 l. 2. 3. 4. 5.

156

CorinthP. of Apollo; dense bl; dk gr out; lt gr in; mend hole. Corinth937; gr slur out; smth in. Klenia lt gr; fnt vert rippling (91:4). Corinth1937; gr slur out in. Kouvaleiki fig. 4:3b. Klenia lt gr.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

Corinth1937; dk gr smth. Corinth1937; dk gr bur. Corinth1937; fn gr. CorinthLechaion Road; fn gr; bl pnk out/in. Corinth 1937; fn gr. Klenia med gr bur out; low bur in (91:8). Corinth 1937; dk bur out; lt gr slur in. Franchthi Jacobsen 1973b, fig. 5:2; fn Corinthian gr. Corinth 1937; gr. Corinth 1959; fn dense silvery gr. Corinth 1959; fn gr. Klenia fn med gr. Klenia v fn dense med gr; bur out/in/under. Corinth Forum West 6479; med lt gr; crm patch out; crm tan in. Corinth 1937; v fn gr; gr slur out/in. Corinth 1937; gr; vert perf lug. Corinth 1937; fn lt tan bur, wh marbling. Corinth 1937; lt gr rough; perf tubular lug. Corinth 1937; fn gr bur out; shallow oblique rippling. Corinth 1937; gr. Corinth 1937; gr; fnt vert rippling; lip restored. Corinth 1937; fn gr; bur out; slur in. Klenia dk fn gr bur out; low bur in. Corinth 1937; hd gr; wh marbling. Corinth LWK; fn lt gr; fnt vert rippling (90:8).

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53.

Fig.33 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Corinth1937; fn gr; grve decor. Klenia med gr bur; oblique fluting (91:3). CorinthLWK; v smth lt gr out/in (90:9). Corinth 1937; fn gr. Klenia med fn gr. Klenia as 5, plastic strip (91:10). Klenia dk gr bur; strap handle. Corinth1937; fn gr; bur marks out; scraped in; handle root. Klenia med lt gr. Argos C 9484; fn med gr. Klenia v fn med gr; low bur out; fn scratched in; handle root. Corinth 1937; gr slur out; rough in. Corinth 1937; fn gr. Klenia med gr; fnt oblique rippling. Corinth 1937; smth bf gr out/in; wide handle. Klenia v fn hd dk gr. Klenia med gr; bur out; smth pared in. Corinth 1937; smth gr out; wiped in. Corinth 1937; smth gr out; less in. Gonia aXI; med gr bur, dker patches. Tarsina hd dusky gr, crse grts; dk gr bur out; dusky tan in. Klenia dense fn dk gr; dk gr bur out; scraped in. Corinth 1959; lt bf core, bl skins; smth tan gr out/in. Klenia dk gr bur out & in rm; handle root. Klenia med gr. Corinth LWK; dk gr bur, shallow grves out; med gr in. Klenia v fn hd; dk gr bur.

Fig. 35 l. 2. 3. 4. 5. 6. 7. 8. 9.

Fig. 34 l. 2. 3. 4.

Klenia large thick; as 31:11, shallower. Corinth1937; as 31:27. v. 31:24. Corinth1959; bl, gr patches; body. Corinth1937; as 31:18. Corinth 1959; fn dk gr; as 31:27. v. 31:17. Argos C 8559; dk gr; incised and dotted; as 31:27. Corinth 1959; smth gr; as 32:26. Klenia med gr; grved handle. Corinth 1937; lt gr; grves. v. 31:20. Corinth 1959; gr bf bur; incised, plastic motif. v. 31:27. Corinth 1937; fig. 27b. Corinth 1959; dk gr; fn incised; body. Corinth 1937; fn gr; shallow fluting. Corinth 1937; gr; narrow shallow rippling. Klenia med gr; fn rippling. Corinth 1937; gr; fluting; as 33:14. Corinth 1937; lt grn-gr bur; thn brshd slip; shallow fluting. Corinth 1937; gr; wide shallow fluting. Corinth 1937; med gr; shallow fluting; pedestal wall. Corinth 1937; fn gr; facetted lip. Corinth 1937; fn gr; scalloped lip. Corinth 1937; fngr; incised lip. Lerna bl bur; fn ripple and bead (sketch). Corinth Forum West 70-239; bl bur; low ripple and bead. Corinth 1937; gr. for??? Corinth 1937; gr; vert perf lug. Corinth LWK; dk gr; vert perf lug. Klenia med gr; on pedestal bowl. Corinth 1937; fn gr. Klenia med gr. Corinth 1937; fn gr. Corinth 1937; fn gr. Corinth 1937; fn gr. Corinth 1937; fn gr. Corinth 1937; fn gr. Corinth 1937; tan bf bur out/in. Corinth LWK; med crse gr, quartz; gr bur out, tan patch. Corinth 1937; med fn, hd; traces dk gr bur out. Corinth 1937; gr; smth on top; break scar under. Corinth 1937; gr. Corinth 1937; gr. Corinth 1937; gr. Corinth 1937; rough dk gr ripple bur out; smth gr slur in. Corinth 1937; gr. Corinth 1937; gr.

Corinth1937; gr; as 33:26. v. 31:30. v. 31:21. v. 31:27.

157

Corinth Forum West 6578; wh on bl bur out; tan in. Corinth 1937; wh on bl bur; cf. 29:low; 92:4; as 26:2. Corinth1937; ghost on bl bur; cf. 26:6. Kouveleikon fig. 2. Corinth1937; fig. 22g; wh on bl bur out; tan in. Corinth1937; wh on bl bur; as 26:15. Corinth1937; ghost on bl bur. CorinthLWK 1951, pl.4. Corinth1937; ghost on bl bur. Corinth= 29:4; 92:2.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Corinth 1937; wh on med gr slur. Corinth = 26:13. Franchthi = 29:8. Franchthi F/F1; wh on bl bur. Franchthi = 26:7. Franchthi = 29:3. Corinth Forum West 70-292; bl pb inside open bowl. Corinth Forum West 70-357; fn bl pb, body. Corinth Forum West 70-283; bl pb, thick body. Corinth Forum West 70-228b; fn bl pb, body. Corinth LWK; lt gr; mt purplish pnk line; d. .260. Argos C 8578; med gr, traces dk bur & rd-brn pnk out; lt gr smth in. Corinth 1937; bl mt on dk gr; jar shoulder. Corinth 1937; thk mt bl pnk on dk gr w tan tinges; rough tan in. Klenia lt gr; rd-brn pnk, overall bur; d. .160 (95:15). Klenia med gr; glsy bl pnk (95:14). Gonia aVI; dense dk gr; mt dk violet pnk on bur tan out. Corinth Forum West 70-473; fn Grey on Grey; cf. 92:6.

11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

Fig. 36 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

Corinth Forum West 70-331; mt bl on low bur rd slp (17; 80:low) 63 fig. 8 pl.112. Corinth 1959; bl on rd bur slp, in. Corinth1937; bl on rd slp, out and in rm. Corinth Forum West 70-230; bur lt brn-rd; traces brn pnk out/in. Gonia (BSA); thn smth bl pnk on rd bur slp, dker in parts. Corinth1959; mt bl on bright rd bur slp out/in. Corinth Forum West 70-540; bl on rd slp (50:3). Corinth1937; bl on rd. Corinth Forum West 6491; lt rd; bl mt pnk on rd slp in & ? once out on rm. Corinth1937; bl mt on crazed rd brn slp (cf. 80:2 from Forum West). Corinth Forum West 70-247; fn rd; thn bl pnk under rd mt brshd slp. Corinth 1937; thk rd slp out; bl on rd in. Corinth 1937; mt bl on bur rd-brn, out & in lip. Corinth 1937; bl pnk on rd slp out; bl slp in; high handle root; d .150m. Corinth 1959; bl on or-rd slp; pedestal. Corinth 1959; mt bl on or-rd bur slp out; mt rd slp on pitted surface in. Decor inside low (80:low). Corinth 1937; fig. 14a; lt rd-bf; thk bl-mahog slp out; rdbrn low lstr slp in.

Corinth1937; ch on grnish crm in; low bur out. Corinth1959; dk ch on lt grnish crm in; low bur out. Corinth1937; ch on grnish crm out; ch on lt bf in. Gonia aVIII; bl mt on smth pnk bf in. Corinth Forum West 6478; fn bf to lt gr; brn pnk on ? crm slp. Corinth1937; ch strky pnk on smth gritty crm. Gonia aXI; low bur warm crm-bf, fnt pnk lines in. Franchthi fn dense lt rd; or-rd pnk on smth warm bf (close to Urf.). Klenia hd porous bf; thn mt ch on bur yel-tan (88:3). Corinth 1937; fig.31c; mt ch on fn warm bf (cf 88:3). Corinth LWK; lt gr, pnk skins; dk rd pnk. Corinth 1937; fig. 31a. Corinth 1937; dusty mauve on grnish crm. Alepotrypa fn sft lt crm; traces rd pnk, v worn (101:18). Corinth 1937; fig. 31f; ch on yel-bf. Corinth 1937; mt bl on warm bf out; brshd smeary under, to dotted line. Corinth Forum West 70-294; lt gr core, rd-bf skins; low bur out, no pnk. Corinth 1937; bl pnk on warm rd-bf. Corinth 1937. Corinth 1937.

Fig. 38 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Fig. 37 l. 2. 3.

Corinth1937; bl on low bur lt gr-bf. Corinth1937; ch on warm bf out/in; multi-chevrons. Corinth1937; LWK; dense lt pnk; gr ghost pnk on bur bf in. 4. Franchthi Jacobsen 1973b, fig.7:15; pl.51a; lt rd; or to ch mt on low bur. 5. Corinth1937; fig.32c; lt rd; low bur ch on low bur pnk-bf. 6. Corinth1937; ch rn band on grnish crm. 7. Corinth1937; dk ch rm band on lt bf. 8. Corinth1959; bl on rd-bf, worn. 9. Asea fig.77j; mt bl on smtheed warm bf; same out. 10. Corinth1937; ghost pnk on lt bf.

23. 24. 25. 26. 27. 28. 29. 30.

158

Gonia EtaIII/IV; lt pnk core; lt yel-bf, v worn. Gonia aX; lt rd; dk ch on grnish crm. Corinth 1937; dusty mauve on lt grn-crm. Corinth 1937; or-mauve on lt bf. Corinth 1937; dk ch on rd bf. Argos C 8698; lt rd; thn dk mauve pnk out, & on pnk-crm slp in. Corinth1937; ch on grn-crm rm band; angle not sure. Corinth Forum West 70-224; thn brn mt on smth yel-crm (86:3). 44 fig.bur pl.109. Argos C 9416; thn mauve pnk on dusky bf. Klenia ch on grn slur out/in. Corinth 1937; dk ch on lt yel-bf. Klenia crse crm, large grts; bl rm blobs on rough slur. Klenia lt rd; surfaces worn. Corinth 1959; dusty mauve on warm bf. Corinth 1937; gr core, pnk bf skins; traces rd slp/pnk out. Klenia lt rd; mt ch on low bur bf-crm out; smthed in. Argos C 9462; Daux 1967, fig. 31, centre; brn-bl pnk on smth bf. Klenia hd lt rd; mt bl on bf slur out; smth warm bf in. Corinth 1937; dk ch on grn-crm out; grve rm. Corinth 1937; ch on lt bf out/in. Klenia crse, roughly made, grnish. Klenia lt rd crse, smth bf slur; dk rd pnk out; same pattern in. Corinth 1937; lt rd; mauve on lt yel-crm in; plain out. Gonia (BSA); crse bf; mt rd on rough slur out. Klenia rd; rough low bur out; smth in; bur verm pnk out/in. Corinth 1937; c pnk on lt grn crm out. Corinth Forum West 70-219; rd; smth dusky & rd mott slur; thn yel-brn pnk. 52 fig. 7 pl. 112. Corinth 1937;sft lt rd; rd pnk out; traces in. Corinth 1937; dusty mauve on lt grn-crm. Corinth 1937; lt rd; rough slur out/in; careless pnk lines out.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

31. Corinth Forum West 70-558; rd; low bur ch on low bur warm bf (85:7). 32. Corinth Forum West 70-299; ch on low bur bf (86:low). 49 fig. 7 pl.112.

21. 22. 23. 24.

Fig. 39

Fig. 41

l. 2. 3. 4.

l. 2. 3. 4.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

Klenia lt rd; bl mt on low bur crm slp out/in. Asea fig. 77a; sft bf; mt rd pnk on lip; smth out/in. Corinth1937; ch on warm bf. Corinth1959; bf, many wh grts; dusty ch on crm out/in (4a). Corinth1937; ch on rd-bf. Franchthi Jacobsen 1969 fig. 7:3; gr core, bf skins; mt dk brn on low bur. Corinth1937; mauve on lt crm out; d. .220m. Corinth1937; dk ch on rd bf. Corinth1937; ch on lt bf. Corinth 1937; mt pnk. Corinth Forum West 70-217; dense gr, bf skins; thn smry bl pnk out/in. Klenia mt bl on low bur yel-bf. Corinth (BSA); hd gr core, rd skins; bl mt pnk on low bur dusky slurry. Corinth 1959; crusty bl on low bur. Gonia v fn sft lt crm. Corinth 1959; 59-22; dk ch on low bur yel-crm. Corinth 1937; ch on yel-crm out. Klenia hd dense bf. Corinth 1937; ch on lt crm out. Corinth 1937; smth lt grn-crm; wiped in. Corinth 1937; ch on warm bf; rm grve. Corinth Forum West 70-218; lt rd; mt brn on bur crm-pnkbf (86:2). 50 fig.7 pl.112. Corinth 1937; mauve on lt grnish-crm.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.

Fig. 40 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

25. 26. 27.

CorinthLWK; crm; thn mauve wash out; wavy line in. CorinthLWK; lt pnk, dk grts & grog; mauve on lt grnishcrm; bf slur in. CorinthP. of Apollo; lt bf; fnt mauve on bur bf out; lt yel bf in. Corinth Forum West 70-289; pnk bf; mt brn pnk on low bur bf (86:4) 43 fig. 6 pl.109. Corinth1937; ch on lt grn-crm out. Klenia gr core, rd skins; bl mt on low bur rd (87:2). Corinth 1937; ch on warm bf out. Corinth 1937; bl on rd-bf, worn. Klenia low bur rd out; fn scratched in. Corinth LWK; pnk core, crm skins; smry purplish pnk in slur. Corinth Forum West 6487; rd brn on smth warm bf. Klenia mt bl on low bur yel-bf. Corinth 1937; ch on bf. Corinth 1937; mauve on low bur bf rd. Corinth 1937; ch onlt bf. Corinth 1937; or-rd; crm-bf slur slp, traces pnk. Franchthi Jacobsen 1973b fig. 7:8, pl.51; dk gr core, bf skins; crusty pnk. Argos fn hd crm, dk strks; thn rd-brn pnk. Corinth 1937; lt yel-crm, pnk worn. Franchthi Jacobsen 1973b fig. 7:9; spongy bf; dusty ch on smth mt.

Gonia dk ch on lt crm-bf, poss slp. Klenia crse gr; dk & yel-bf mott; bl mt pnk. Klenia fn yel-bf; mt bl on low bur crm-bf out; smth bf in. Corinth 1937; sft fn bf; dk ch mt pnk (cf. 84:9).

Corinth1937; lt bf; traces pnk. worn. Corinth1937; ch on lt yel-crm. Corinth Forum West 70-557 (85:5). Corinth1937; mauve on warm bf, worn. Almost ident. Gonia. Sketch Lbk II p.4. Corinth1937. Corinth1937; mauve on grnish crm; pattern as 43:5. Klenia bl on smth yel-bf. Klenia bl on bur crm bf. Corinth1937; bl on dusky gr slur. Corinth 37; lt bf; worn pnk, as 43:5. Corinth 1937. Klenia dusty mauve on crm slp (81:18). Alepotrypa Hauptmann 1971 fig. 48b; fn bf; dk ch on thn crm slp (82:2). Corinth 1937; fig. 32d; lt rd; ch on crm slp. Corinth 1937; bl on pnk bf; 2 horiz zigzag lines. Corinth 1937; ch on warm bf. Klenia overall mt bl except handle, w 2 stripes. Alepotrypa Hauptmann 1971 fig. 47a; pnk bf; bl on thn wh slp (82:6). Klenia crusty bl pnk on yel-bf. Klenia lt rd bf; lt crm slp out (81:17). Corinth Forum West 70-358; crazed bl on smth crm slp. Alepotrypa Hauptmann 1971 fig. 54a; lt rd; bl mt on thn wh slp. Corinth LWK; dk purple pnk on low bur crm slp out; rough in. verm wash. Corinth 1959; dense yel; wipe marks out; dk mauve pnk on handle & in. Corinth 1937; ch on grn-crm out. Corinth 1937; mt bl on wh slp, as 37:23. Corinth 1937; fn hd crm; mt ch pnk, worn.

Fig. 42 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

159

Klenia bl on low bur warm bf. Klenia mauve on warm crm (81:13). CorinthLWK; fn sft bf; crm slp out/in. CorinthLWK; roughly made, crm bf; strky mt mahog pnk in. Alepotrypa. Akrata hd overfired crm-gr, blistered; bl mt on thn wh slp (89:2). Corinth1937; ch on lt bf. Alepotrypa lt bf; rd brn pnk on low bur slur (82:7). Klenia dense crm bf; mt bl on rough crm slur; yel-brn on handle (88:6). Alepotrypa thn mt purple & incised lines in wh slp. Alepotrypa Hauptmann 1971 fig. 47c; bl on crm slur (82:5). Corinth Forum West 70-243; smry bl on yel-crm. 45 fig. 7 pl. 112. Alepotrypa Hauptmann 1971 fig. 48b; ch on thn brn ? slp (89:6). Alepotrypa Hauptmann 1971 fig. 45b; bl on thn wh slp. Alepotrypa Hauptmann 1971 fig. 47b; bl on wh slp.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

53. Corinth 1959; lstrous, brshd ch on pnk bf, part mt (urf/matt pnk). 54. Corinth Forum West 70-554; ch on lt rd; low collar jar, as 41:19 (85:17). 55. Corinth 1959; bl on lt grn-crm; jar belly. 56. Klenia bl on high bur warm bf (87:12). 57. Alepotrypa mt dk slp, dker pnk; collar jar (82:10). 58. Corinth 1937. 59. Corinth Forum West 69-292; mauve on warm bf, in; as 39:20. 60. Corinth 1937; fig. 31d; Zervos, 399. 61. Corinth 1937; fig. 32a; Zervos, 400. 62. Corinth Forum West 70-555 (85:10). 63. Corinth 1937. 64. Klenia dk mt on crm slur. 65. Gonia aXI; bl pnk on crm fabric. 66. Klenia dk pnk on grn-crm. 67. Alepotrypa bl mt on thn wh slp (42:10). 68. Alepotrypa dk mt on thn brshed wh slp. 69. Alepotrypa = 42:15. 70. Argos C 7537; ch on crm. 71. Argos C 9594; ch on yel-crm. 72. Alepotrypa dk ch on thn crm slp (41:13). 73. Alepotrypa = 42:13.

Fig. 43 l. 2.

Klenia inside of 87:3. Corinth Forum West 70-560; ch on low bur ivory; as 39:20, lip grve (85:6). 3. Corinth1937; crusty bl on crm; piriform jar. 4. Corinth1937; pedestal ft. 5. Corinth1937; mauve lt lt bf; jar collar; cf. 85:18. 6. CorinthLWK; ghost mauve on yel-bf; as 40:10. 7. Corinth Forum West 70-223; crusty brn on smth bf slur; same lip as 38:26. 8. Klenia = 87:3; bl on low bur rd; band of 43:low in; as 38:7. 9. Gonia aX; mt rd on warm bf out; vert rm. 10. Klenia ch on grn-crm in; as 38:5; (81:14). 11. Corinth 1959; ch on grn-yel; inside & out as 39:16. 12. Corinth Forum West 70-549; sim 38:32; (85:13). 13. Corinth Forum West; sim 38:32; (85:14). 14. Corinth 1937. 15. Corinth 1937. 16. Gonia pl.Ie; bl on crm. 17. Gonia eIV; mauve on warm rd; pedestal as 37:26. 18. Gonia aXI; dusty mauve on bur tan; as 39:low (cf 84:7). 19. Gonia aVIII; thk mt verm on rd in; rm as 38:32. 20. Gonia aII; mt verm on dusky bf out; jar collar. 21. Corinth 1959; 59-18; ch on lt grn-crm, as 39:7. 22. Corinth 1937; fig. 32e; as 41:4. 23. Corinth Forum West 70-530; dk brn-mauve on yel-crm; as 37:17 (84:3). 24. Corinth 1937; bl on bf; as 37:15. 25. Alepotrypa watery dk brn on smth crm-bf slur; as 43:7; (89:low). 26. Alepotrypa as 42:13. 27. Klenia rd; bl on crm slp; as 42:14; (88:4). 28. Corinth Forum West 70-548; brn on crm; as 41:7; (85:16; cf. LWK 1951 pl.4b. 29. Klenia. 30. Corinth 1937, fig. 32g. 31. Gonia aXI; ch on honey bf bur; fn body. 32. Alepotrypa mt bl on low bur bf; jar belly. 33. Alepotrypa jar shoulder; (82:12). 34. Alepotrypa Papathanasopoulos 1971b pl.IV. 35. Gonia pl.Ic. 36. Corinth 1937; fig. 31g. 37. Corinth 1937; ch on pnk bfl jar shoulder. 38. Klenia ghost pnk on high bur lt crm; belly as 41,14; (81,19). 39. Corinth 1937; ch on lt grnish crm; large jar wall. 40. Gonia pl.Ia; mauve on crm. 41. Corinth 1959; mauve on yel-bf; jar belly. 42. Gonia AVII. 43. Gonia eIV; ch on rd-bf. 44. Klenia lstr bl on low bur bf; jar shoulder; (82:10). 45. Corinth1959; ch on lt bf, overall bur (urf/matt pnk), out. 46. Corinth 1959; inside of 45. 47. Corinth Forum West 70-531; bl crusty on grn-crm; jar collar (84:4). 48. Corinth 1937; Zervos, 400; smth ch pnk on bur bf. 49. Corinth 1937; ch on rosy bf. 50. Corinth 1937. 51. Corinth LWK; mt brn mauve on low bur crm; as 37:2. 52. Corinth 1937.

Fig. 44 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Corinth1937; fig. 33g; mt or & bl on crm. Gonia EtaVIII; rd & bl out; strky bur in, fire darkened. Corinth1959; glsy or-rd & mt bl on low bur yel-bf out/in. Gonia aIII; rd & bl on bf out; traces decor in. Gonia aV; low bur rd & mt bl on low bur ivory. Corinth Forum West 70-94; v smth lt bf out; low lstr bl & thn rd low bur lt rd in (87:low). 64 pl.110. Gonia aI; CP 2754; dp rd & mt bl on dusky crm (83:23). Gonia aX; decor out/in but worn. Klenia bur dp rd & mt bl on low bur bf. Klenia dp verm & mt bl on low bur yel-bf out/in. Gonia eIV; bl & rd on bf. Gonia FVII; dk & lt brn on crm out; low bur bl & mt brn on low bur dusky wh in (83:13). Gonia EtaI; rd & bl on lt br-crm in; worn out. Klenia lt td; verm & bl on bur dusky bf out. Klenia rd & bl on yel-bf; roughly made; (88:2). Klenia bur bl & dp rd on bur dk rd; rest from several frags. Gonia aII; rd & bl on pnk-bf; rest from several frags. Corinth 1959; crusty cherry & thn bl on or-bf. Gonia aIII; CP 2752; thk dk mahog & bl on low bur bf (83:22). Gonia EtaVIII; low bur rd & mt bl on crm-bf (83:11). Gonia aV; bur or & mt ch on bur bf (83:12). Klenia fn dense rd; decor out v worn.

Fig. 45 l. 2. 3. 4. 6. 7. 8. 9.

160

Klenia dp rd & mt bl on low bur pnk bg out. Klenia low lstr rd & bl pnk on low bur yel-bf. Corinth Forum West 70-270; mt ch & rd on smth crm-bf. 56. 8 pl.110. Klenia dp verm & mt bl on dusky bf. 5. Klenia rdbrn & bl on low bur bf. Gonia aV; rd & bl on lt bf out. Klenia hd bf; lstrous dp verm & mt bl on bf. Goni aVIII; rd & bl on low bur crm slp. Klenia dense bf; lstrous verm & mt bl on low bur bf

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

(81:23) KDV (71) thinks may be FN. Klenia dp rd & bl pnk. Alepotrypa rd & thn mauve on warm bf (82:8). Corinth Forum West 70-233; rd & bl on bf. Gonia etaVII. Gonia aIII; rd & bl on lt bf (83:14). Corinth 1937; fig. 33e; or & bl on crm-bf slur. Klenia gr core, rd skins; lstrous rd & mt bl on low bur bf. Corinth Forum West 70-295; hatching shows orig. core. 58 pl.110. Argos C 8510, Daux 1967 fig. 17; thn mauve & verm on bf. Gonia FVIII (83:31). Kleni low bur dp verm & mt bl on low bur bf (81:24). Argos C 8719; verm & thn ch on smth yel-cr. Gonia aIII; rd & bl on bf; smth in. Gonia etaIV; v worn. Klenia rd & bl on crm-bf (88:low). Gonia etaVI; dk gr core, pnk bf skins; rd degraded to brn. Argos C 8517, Daux 1967 fig. 17; verm & mt ch on smth bf; cut out. Klenia lstrous or-brn & mt bl on yel-tan (87:6). Corinth 1937; fig. 33h; or & bl on low bur bf. Corinth 1937; low lstr rd & mt bl on low bur bf. Gonia etaVI; rd & bl on bur ivory out.

35. Corinth Lechaion Road; fn open bowl sherd. 36. Corinth Forum West 70-533; or & ch on bf; pedestal (84:6). 37. Klenia = 44:15. 38. Klenia dp rd & mt bl on low bur pnk bf; as 44:17. 39. Klenia as 44:9. 40. Klenia body. 41. Klenia bur rd & mt bl on bur crm-bf; closed body. 42. Klenia bur rd-brn & mt bl on bur bf; out, open body (81:25). 43. Klenia jar belly. 44. Klenia jar belly. 45. Alepotrypa Papathanasopoulos 1971b pl.IV. 46. Alepotrypa mt mauve-bl w or-rd; jar shoulder (89:5). 47. Franchthi unstrat; crusty verm & thn mauve on low bur bf; as 44:22.

Fig. 47 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Fig. 46 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

Gonia as 44:12. Gonia aIX; Gonia aVIII; thn dk purplish pnk; as 44:12. Klenia strky high bur rd & mt bl on smth bf; as 44:16. Gonia aV; as 44:3. Gonia Blegen 1930 pl. Iif. Gonia aVIII; outside of 3 (83:4). Gonia rd brn & mt bl on bf (83:17): inside. Gonia etaVIII; out, body. Gonia etaVIII; out, body. Gonia aVII; rd & thn bl on bf; in, as 44:20. Gonia aVIII; bur rd & mt on bf; jar shoulder. Gonia etaV; jar belly (83:9). Gonia Blegen 1930 pl.IIj. Gonia etaVI; in, body. Gonia FVII; out, body, cf. 83:13. Gonia eta V; body. Gonia Blegen 1930 pl.IIk. Gonia Blegen 1930 pl.IId. Gonia Blegen 1930 pl.IIm (sketch). Gonia etaIII; bur dk brn & mt bl on grn-crm, same out/in. Prosymna fig. 630:2. Prosymna pl.III:5. Prosymna fig.629. Prosymna pl.III L. Corinth Forum West 70-228 (sketch). Corinth LWK 1948, pl.IVd. Corinth Forum West 70-561; (84:11), pedestal foot, “Bl on Rd ware.” 29. Corinth LWK 1948 pl.IIi. 30. Corinth 1937; worn bl & or on bur lt rd; inside of ped bwl. 31. Corinth 1937; lstr rd & mt bl on bf; ped junction. 32. Corinth 1937; thn or-rd & ch on bf; ladle frag as 41:24. 33. Corinth LWK 1948 pl.IIe. 34. Corinth Forum West 70-231; lstr rd & thn mt bl on bf; as 45:6.

23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34.

Klenia md fn rd; rough bur, fn inc decor out (94:5). Klenia porous bl; bl bur out in; fn inc out. Klenia dk porous; brn-bl smth slur. Klenia med fn rd; low bur tan, shall inc (94,4). Klenia fn dk gr; glsy bl bur out/in, fn wh fill inc. Klenia porous bl; bl bur out/in. Prosymna fig. 633,low (sketch). Klenia dk slur out/in (94:2). Klenia bl bur out/in, fn inc (94:9). Corinth 1959; smth rd; fn inc. Klenia smth rd-bf slur; part oblit inc. Klenia rd porous; dusky smthed; lines part oblit (94:7). Klenia crse dusky slur; lines part oblit. Prosymna fig. 633:6. Prosymna fig. 633:4. Prosymna fig. 633:7. Corinth 68-49. (94:low). Corinth 40-534; convex bowl. Klenia rough dusky slur (94:8). Corinth LWK; gr, shading to lt rd at base; shall sharp nc. Lerna Caskey 1958 pl.36a; wh crust preserved. Corinth 1937, fig. 29i; Zervos, 374; glsy bl bur out, bl bur in. Lerna Caskey 1958 pl.58c. Corinth 1937, fig. 29k, glsy bl bur, fn scratch. Corinth 1959; bl bur, fn scratch filled out. Corinth 1937; bl bur, fn scratch out; rd-bf bur in. Corinth 1959; bl bur, fn scratch filled. Corinth 1937, fig. 29j; Zervos, 374; glsy bl bur out; bur tan in. Gonia aV; low bur dk, incised & dotted, wh filled out; wall above base. Gonia eIV; crse gr bf; inc & dot; thk closed body (83:29). Gonia etaVI; dull bf slur; inc & dot; handle; (83:26). Akrata 967; smth bf; inc & impressed; 3 perf after firing; complete (94:3). Corinth P. of Apollo; c-66-119; pnk-bf fn; rd-brn pnk out/in; grve & dot; overall bur. Corinth P. of Apollo; hd crse bl; dk brn smthed, wh fill inc out; rougher in.

Fig. 48 l. 2. 3.

161

Klenia bl & rd mott slp, pb. Corinthunstrat; warm bf; dk rd pb out; rd bur in. Corinthunstrat; lt bf; rd-brn pb out.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

Corinth1937; med fn bl; mt or slp out, dker pb; rd brn pnk bnd. Klenia lt rdor-rd horiz stroke-bur out; lt rd bur in. Corinth 1937, fig. 29e; med fn dk; mahog pb out; gr in. Corinthlot 5243; crse hd; bf & rosy slp out & in rm; careless pb. Corinth1959, Weinberg 1960 pl.63b 4; rd pb on mt or-rd. Corinth1959, Weinberg 1960 pl.63b,low; rd pb on mt orrd. Klenia dk gr, bf skins; dp rd stroke-bur, bl strks (93:6). Corinth unstrat; bl core, bf skins; rd-brn stroke-bur. Corinth 1937. Klenia dk gr, bf skins; dp rd stroke-bur, bl strks (93:6). Klenia or-rd; rd stroke-bur; fn lip bevel. Prosymna fig. 635,low (not to scale). Corinth 1959, Weinberg 1960 pl.63b:7; dp rd pb on strawberry mt. as 21. Klenia rd; bl & dp rd mott, traces pb. Klenia rd; dk stroke-bur (93:8). Prosymna fig. 635:9 (not to scale). Klenia dk, rd skins; strawberry stroke-bur out, smth dull red in. Corinth unstrat; rd-brn pb. Klenia dp verm pb on dk rd. Corinth unstrat; sft yel-bf; dp glsy rd pb. Gonia rd pb on mt strawberry. Corinth unstrat; dk rd pb on rd slp, out. Corinth 1937; cherry rd pb on strawberry ground. Klenia brn stroke-bur on dusky rd out; traces bur in. Corinth 1959, Weinberg 1960 pl.65b:8; lt bf; rd brn stroke bur; cut out. Klenia dp rd strokes on smth rd; cut out (93:7). Corinth 1937; bf; rd-brn stroke-bur. Klenia bl core, bf skins; sparse rd strokes out; dusky bf in.

4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

Fig. 51 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Fig. 49 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

brn; rd crust out w wh band; overall rd in. Klenia crse friable bf; pitted bf surface; traces chalk crst out (95:7). Klenia smth dk gr out/in; traces rd out; rd & wh in (95:11). Klenia bl bur out/in; thk dusty wh pnk out (95:12.13). Klenia bl bur out/in; wh pnk traces in (95:4). Franchthi Jacobsen 1973b fig. 9:3; pl.52a; wh & rd decor. Asea fn bl bur; traces pnk crust out. Franchthi Jacobsen 1973b fig. 9:5; pinkish coating overall. Klenia. Klenia dk porous; rough bl bur out/in; wh crust out (95:5). Klenia smth rd-bf to dk; thk relief wh pnk out/ smth tan in (95:19). Klenia lt gr-bf; smth bf out, traces wh & rd; smth or-rd in (95:3). Akrata 972; gritty rd; dp opaque low bur out, traces ghost pnk. Lerna Caskey 1959 pl.41,bur; Zervos, 338; rd brn; powdery or (not to scale). Lerna Caskey 1958 pl.37a; rd; powdery or coating (not to scale). Lerna Caskey 1959 pl.41d; Zervos, 337; rd brn; wh crust, rd pnk.

Klenia fn gr; bl bur strokes out; dk gr in. Klenia hd porous bl; strky high bl bur out, less in (93:2). Klenia dk rd; horiz bl strokes on rm, vert mahog strokes below; res lines ? pnk (91:6). Klenia crse rd; sparse bl & brn strokes out; angle approx. Klenia dusky dk brn, fn stroke-bur. Klenia bl & mahog stroke-bur out; smth bl in. Klenia hd porous bl; rd & bl mott stroke-bur out (93:9). Gonia etaV; strky bur cherry rd slp, reduced to bl in parts. Gonia aIII; cherry rd stroke-bur slp out/in. Gonia aII; brshed or-rd pnk & thn ch on yel-bf (83:3). Gonia aVIII; strky bur cherry rd slp on bf, reserve decor (83:low). Gonia etaVIII; bl, to brn nr rm; overall stroke-bur, reserve decor. Gonia aVII; mt bl pnk on bright rd scribble bur out/in. Gonia aVII; rd slp out; thn mt bl pnk on bur rd slp in (81:low). Gonia aXI; rd-brn bur line on smth warm bf. Gonia FVII; warm bf bur, dk pb lines (worn) out. Gonia aVII; bl pnk on or-rd in; bright rd scribble bur out (81:2).

16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

Klenia dense rd; smth out/in. Klenia fn grty rd; keeled lug. Klenia rd (101:8). Corinth1959; bl core; smthed rd out/in. Alepotrypa dense lt rd; dull bf-rd slur out/in. Klenia bl slur out/in (101:10). Corinth1937; smthed bf w rd to dk tinges. Corinth1937; dk rd-brn mt out; rd bur in. Klenia dk, bf skins; rd-bf bur out; bf bur in, dk lip. Klenia (101:12). Klenia dk tan to bl slur (101:7). Corinth 1937; pnk-gr; bf gr, traces dk bur slp. Klenia rse lt rd; rough sooty bl out; smth in (101:6). Klenia crse dk; wh crust pnk (95:16; 101:9). Argos C 8691; crse, large grts; dirty slur out; rough mott slur in. Klenia dusky crm-bf; smth slur. Klenia crse dusky bf; dk rd brn bur out; strky bl in. Lerna smth pnk out/in. Klenia bl bur, strong fluting (93:low). Klenia crse rd-bf-gr; dk rd & sooty bl slur out (101:11). Corinth unstrat; rd bur. Klenia (101:14). Lerna Caskey 1958 pl.37b; Zervos, 336; dk gr-brn bur (sketch). Gonia hd rd; rd ? slp. Klenia dk crse (101:13). Corinth 1959; bf; worn sooty surface; width of handle, .040. Alepotrypa dense crse rd; rd bur out; less in. Klenia smth dk gr slur. Klenia crse; dusky rd slur out; smthed in. Alepotrypa crse or-rd; dk sooty surfaces (101:17).

Fig. 50 l. 2. 3.

Fig. 52

Nestor’s Cave high bl bur out/in; thk relief pnk. Klenia dull rd; smth out/in. thk chalky crust out/in (95:8). Franchthi Jacobsen 1973b fig. 9:2; pl.52a; high bur dk

l. 2.

162

Akrata 1082; dk rd gritty; bur dk rd-mahog-bl mott ? slp. Alepotrypa crse lt rd, grog; dk bur out/in (96,7).

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3. 4. 5. 6. 7. 8. 9.

Akrata 1027; crse gritty rd; bur rd w bl mott out; smth in. Phlius Biers 1969 fig. 3:34; low bur rd-bf out/in. Phlius Biers 1969 fig. 3:36; low bur rd-bf out/in. Phlius Biers 1969 fig. 3:37; crse dk rd; rough dk rd bur out. Alepotrypa crse dull rd, grog; bur bl & brn mott out/in; fnt rippling. Alepotrypa dk med crse; mott rd-brn bl bur out; smth bl in. Alepotrypa Hauptmann 1971 fig. 54g; crse dk; dk bur, fnt rippling (96:8).

13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Fig. 53 l. 2. 3. 4. 5. 6. 7. 8. 9.

Alepotrypa dense fn bl; bl bur out/in. Alepotrypa dull rd; smth bf out/in. Klenia crse dk; bl bur out/in. Klenia dusky crse; bl bur out/in. Alepotrypa dense dk; dull bl bur out/in. Klenia crse dk; bl bur out/in. Lerna L 390; dk mahog & bl bur out/in; low wide fluting. Alepotrypa dense bl; dk brn bur out; bl bur in. Alepotrypa Hauptmann 1971 fig. 54f; crse dk, grog; mott bl bur out/in; low fluting on shoulder (96:6).

Fig. 56 l. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Fig. 54 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Klenia crse dk rd; rough dusky slur out/in. Alepotrypa fn dk; dk bur out/in. Alepotrypa ed crse rd; smth dusky rd out/in. Alepotrypa lt rd; rd brn mott bur out; smth dull in (101:23). Alepotrypa hd rd; smth dk out; dk rd in. Klenia crse; dusky rd slur out/in. Alepotrypa hd bl, rd skin out; dk in (101:21). Alepotrypa warm bf; bf slur out/in (101:22). Alepotrypa dense dk rd; brn bur out. Klenia hd crse dk gr; rough bl out/in. Alepotrypa or, wh grts; surfaces encrusted. Alepotrypa dk, rd patches; dk d out/in; smth under. Alepotrypa dense dk rd; good tan bur out/in (101:24). Klenia v crse friable dk rd; slur out/in.

Alepotrypa dense dk; dk bur out/in. Alepotrypa rough bur or-rd out; smth lt bf in. Alepotrypa rough rd bur slp out/in. Argos C 8588; bl, rdish patches out; rd, bl patches in. Akrata 966; crse rd-bf-dk; smth rd bf, bl patches out; rest Alepotrypa bl, fn grts; bur dk rd-brn to bl slp out. Argos C 6681; hd bl & gr; bl & tan mott bur out; low bur strky bf in. Klenia crse lt rd; rd brn smth slur. Alepotrypa med fn dk porous; fn wiped slur out/in. Klenia hd porous dk brn; smth brn out; boriz strk bur in. Alepotrypa dense brn; smth dk sooty brn out/in; well made. Klenia crse lt rd-br-gr; dk rd & sooty bl. Klenia gr core, bf skins, med crse; dusky slur out (100:8). Ayioryitika bl porous; dk to rd-bf mott slur out; dk tan in. Alepotrypa hd rd; roughly made; smth bl-gr-mahog mott out/in (97:low). Alepotrypa or rd; smth in & upper out; earth imprint under. Asea fig. 38c; smth bl mt out/in, paler mott (97:2).

11. 12. 13. 14. 15. 16. 17. 18.

Alepotrypa bf; low bur dk rd to bl slp out/in. Alepotrypa rd-brn bur out/in. Klenia med fn bf; high bl bur out/in. Alepotrypa dense bl; bl bur out/in. Alepotrypa rd-bf; low bur rd slp out/in. Alepotrypa dk dense; bl bur in; outside encrusted. Alepotrypa dk; smth mahog out/in (97:4). Alepotrypa dk dense; dk bur out/in (96:2). Klenia dk med crse; bl & dk mahog bur out/in. Alepotrypa hd crse gr; low bur dk out/in (96:11; more open angle). Klenia fn porous rd; dk brn bur out/in; vert stroke-bur in below rm. Klenia dk crse; bl bur slp out/in. Klenia dk crse; bl bur slp out/in. Alepotrypa or rd; dusky bf out; dull rd in (97:5). Corinth P.of Apollo C-66-93; dense bl; bur striated tan; fn inc, rd fill; handle/lug root, c. .060m wide. Alepotrypa crse dk rd; rosy-bf bur out; worn in (98:low). Alepotrypa dense bl; bl bur out/in. Alepotrypa lt rd; smth dull lt rd out/in (97:3).

Fig. 57 l. 2. 3. 4.

Alepotrypa Alepotrypa Alepotrypa Alepotrypa

crse dk rd; smth slur out/in; perf rm, plastic. gr, rd skins; dull mt rd out/in; perf rm, plastic. crse rd; dk rd slur (99:5). crse rd; smth rd-bf; perf rm (98:4).

Fig. 58 l. 2. 3. 4. 5.

Fig. 55 l. Alepotrypa rd bur out & in lip. 2. Alepotrypa low rd-brn bur out. 3. Alepotrypa low rd-brn bur out; rough in. 4. Alepotrypa fn dense gr; smth warm bf out/in. 5. Klenia med crse lt rd; rd slur out/in. 6. Alepotrypa crse dk; smth rd out, sooty patches. 7. Alepotrypa off-white fabric, surfaces worn. 8. Klenia or-rd slur out/in. 9. Alepotrypa crse hd lt rd; dull rd-bf to dusky slur; rough flaking in. 10. Alepotrypa fn bl porous, red skins; rd slur out; dk tooled in (98:2). 11. Alepotrypa hd porous dk rd; dk bur out; smthed in. 12. Klenia crse dk; dusky slur out; bl bur in.

Alepotrypa dense lt brn; rough dusky slur. Alepotrypa rd, large crse grts, grog; smth out & in neck. Alepotrypa. Alepotrypa crse or-rd; dk dusky slur (101:2). Alepotrypa rd; dk mahog upper out, lter below; bl patches; 4 handles.

Fig. 59 l. 2. 3. 4. 5. 6. 7. 8.

163

Alepotrypa dense rd; slur out; smthed in (99:3). Klenia gr core, rd skins; dull rd slur out; dker in (100:10). Alepotrypa low bur dk upper, rd lower, out. Alepotrypa lt rd; smth slur. Alepotrypa or-rd; smth lt rd slur. Alepotrypa lt brn; low bur dull rd out. Alepotrypa hd dk; dk bur out/in. Argos med crse; rd & bf smthed; fire blackened below.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

Fig. 60 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Alepotrypa dk; bur crazed dk mahog ? slp out; smth dk gr in. Alepotrypa crse or rd; slur out/in (101:16). Alepotrypa crse or rd. Alepotrypa crse or rd; dk dusky surfaces (99:2). Alepotrypa hd dk rd; dusky out/in. Alepotrypa crse bur (96:10). Asea fig. 82d; crse or to dusky, grog; dusky & rd mt slur. Klenia crse dusky rd; lt rd slur. Alepotrypa crse bf; dk slur out; dk smth in (96:9). Alepotrypa crse rd; dker slur (99:low). Alepotrypa crse or rd; dull brn slur (101:5). Alepotrypa rd, wh grts; crse dker slur out (101:4). Alepotrypa pithos wall. Alepotrypa pithos wall. Alepotrypa coarse rd, smthed; two lugs preserved.

Fig. 61 l.2.5.6.9.10. from Klenia. 3,4,7,11. from Alepotrypa. 8. from Asea. 12. from Gonia. 13. Corinth LWK; dense gr; quartz, chert, bl grts & grog; bl, large tan patches; fn incised, worn. h. of leg, front. .109m. 14. Corinth Forum West 70-155; dense hd bf, thk bl skin inside below; high bur bf to rosy bf out; bl pared in. 15. Corinth P.of Apollo; fn dense lt gr; smth gr, incised. 16. Corinth. 17. Corinth MF 3447. 18. Alepotrypa dense dk gr, bl bur, fn incised (102:3). 19. Alepotrypa hd bl, med grts; bl bur out, shall grves; rough bur in.

body. body. = 10:27. = 10:4; as 4:10. = 10:3. as 6:7. = 2:6. = 4:22. typical mottled; Late. oblique pellet; cf. 10:16. body. = 10:11. = 4:3. = 10:16. dp rd slp; 3 pellets; as 2:4. as 9:30. as low:11. bf spgy; h-p lug. bl spgy; as 9:31. = 8:26. = 9:11. knob as low:11.

Fig. 67 0. l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 10a 11. 12. 13. 14. 15. 16. 17.

Fig. 62 Map of Period I sites; list on p.25.

Fig. 63 Map of Period II sites; list on p.38.

Fig. 64 Map of Period III sites; list on p.56.

Akrata = 10:20. Akrata = 10:19. Akrata = 10:18. Akrata = 7:6. Akrata = 10:29. Akrata cf. 10:21; ? askos belly. Akrata = 10:22. Akrata = 10:21. Akrata. Nemea = 8:16. Nemea = 8:3. Nemea = 8:11. Nemea = 8:19. Nemea sim 8:17. Nemea rd slp; askos handle. Nemea = 8:8. Ayioryitika = 2:4. Ayioryitika thn wh slp, as 4:15. Ayioryitika = 4:19.

Fig. 65 Fig. 68

Map of Period IV sites; list on p.91.

l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Fig. 66 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

= 6:6. = 2:5. as 2:4. = 10:6; as 4:15. wh slp; 10:14; jar shoulder. body. body. rare bl pnk, nr firnis. reduced; body. reduced; body. body; knob scar (cf. 66:33). body. = 5:4. = 7:L. as 6:10. body.

Asea = 2:16. Asea = 2:15. Akrata fn bf; rd brn brshd slp all over & in (p.90). Nemea = 8:20. Nemea = 8:21. Nemea as 8:20. Nemea as 8:24. Nemea = 8:15. Nemea = 8:10. Nemea = 8:2. Nemea.

Fig. 69 l-28

from Corinth LWK illustrate the range of colours and firnis slips of the best Corinthian Urfirnis ware. l. = 23:29. 21. = 23:22. 23. = 11:L.

164

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

25. = 13:4; basically Period I fabric and pnk, but is not EN; very early II. 29-44 from Ayioryitika; note absence of ligh buff ground colour. 29. sim 13:L. 30. = 23:33; as 11:7, in. 31. = 18:10. 32. = 13:L. 34. sim 18:3. 35. inside open bowl. 36. sim 21:6. 41. inside 29. 44. = 23:65.

Fig. 76 l-13 L. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Fig. 70 l. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Ayioryitika = 17:2. Asea = 17:4. Ayioryitika = 17:L. Asea = 21:14. Asea fig. 50b; as 17:5. Asea fig. 49a. Asea = 17:7. Ayioryitika = 21:13. Asea fig. 56; as 21:6 but vertical. Asea fig. 50a.

Fig. 77 l-23 l. 2. 3. 4. 6. 7. 8. 9. 10. 11. 19. 20. 21. 22.

Fig. 71 l. 2. 3. 4.

Kouphovouno typ stroke firnis. Akrata = 12:L. Akrata = 23:44. Akrata = 16:4.

Fig. 72 l. 2. 3. 4. 5.

Akrata = 15:10. Akrata = 15:7. Kouphovouno = 22:23. Akrata = 11:8; 24:4. Akrata = 15:9.

Ayioryitika Ayioryitika Ayioryitika Ayioryitika Ayioryitika Asea 5:8.

Kouphovouno; motifs and Stroke-Firnis sherds. as 15:10. as 20:9. as 11:3. as 14:9. = 11:15. rm as on 13:9. rm as 13:7. as 20:3. = 12:4. = 20:L. as 12:10. sim 11:14; larger. as 12:10; larger. rm as 13:6.

Fig. 78 l.

2.

Fig. 73 l. 2. 3. 4. 5. 6.

Ayioryitika. sim 20:12. = 22:6. sft lt pnk bf; rd pnk, rd strky overslip; as 13:2. = 20:18. carination as on 17:7. 21:16. as 22:13. = 23:17. = 10:34. = 2:14. = 21:20. = 22:13. sim 22:23.

= 17:5. = 17:6. = 18:3. = 13:10. = 12:6.

3. 4. 5. 6.

Asea fig. 111:8; pl.IIk; made on a core; fn bf; bl pnk on warm bf; thn overslip overall including inner (medial) surface; sharp incised triangle; h. .052m (low:low). Asea fig. 111:9; bl on warm bf; no overslip; medial surface carefully smthed before firing; buttock & foot broken; h. .073m (slightly smaller). Asea fig. 111:7; rd firnis pnk on bf (low:low). Ayioryitika = 21:7. Ayioryitika = 23:65. Ayioryitika = 14:16.

Fig. 74

Fig. 79

l-12 Corinth LWK inside. 13-24 Corinth LWK outside. 12 & 24; cut out pedestal frag. 22. = 13:4. 25. Corinth = 21:11.

2.

l.

3.

Fig. 75 l-31 L. 13. 15. 21. 11. 14. 19. 30.

Ayioryitika rim sherds showing different painted motifs. = 23:33; as 11:7. as 12:10. sim 14:16. = 23:55; as 12:10. cf. 13:9. = 23:31. sim 14:16. as 12:10.

4.

Akrata 992; fn lt rd; traces thn slp & lustr bl pnk on head & neck; double eye incisions; h .047m. (ca 3:2). Akrata 1020; v fn marble or calcite; broken at neck; h .055m. (slightly larger). Akrata 985; clay as low; pnk & thn transparent slp as low; traces slp on medial surface; pubic triangle incised after separation from other leg or matrix; h. .83m. (ca low:low). Akrata 1021; fn lt pnk bf; smth lt crm-bf; lustr ch to brn pnk stripes; traces of bur on medial surface; incised pubic triangle; h. .068m. (low:low).

Fig. 80 All from Corinth. l. = 36:L. 2. 70-535; as 36:10.

165

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3. 4.

= 36:7. 70-537; as 36:7.

24. 25. 26. 27. 28. 29.

Fig. 81 l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

Gonia = 49:14. Gonia = 49:17. Gonia aVIII; bl mt ob brshd slp, in. Gonia thk mt verm on rd-brn bur. Gonia thn mt rd on wh slp; body Gonia as 4; rm as 45:14 (inverted). Corinth 1937. Corinth1937. Corinth1937. Corinth 1937. Corinth 1937. Corinth 1937; ped foot as 37:28. Klenia = 42:2. Klenia mt ch on grn-crm; as 36:9. 15. Klenia dp rd pnk out; bl in; as 36:5.

aV; fn scratch out; oblique pnk lines out/in; as 44:13. body. = 47:31. aIX; thk wall; wh slp; same out/in. body, in. 47:30.

Fig. 84 All from the Corinth Forum West excavations. l. 70-541; underside of base. 2. 70-542; pedestal bowl rim. 3. 70-530; = 43:23. 4. 70-531; = 43:47. 5. 70-532. 6. 70-533; = 46:36. 7. 70-552; jar rim. 8. 70-551; sim 39:17; lip pnk as 38:12. 9. 70-553; sim 40:24. 10. 70-550; bl on rd in; wh slp out. 11. 70-561; = 46:28. 12. 70-224; = 38:8.

Fig. 82 Fig. 85

All from Alepotrypa. Figures from Hauptmann 1971. l. fig. 47e. 2. = 41:13; fig. 48b. 3. fig. 48d. 4. shoulder. 5. = 42:11; fig. 47c. 6. = 41:18; fig. 47a. 7. = 42:8. 8. = 45:11. 9. wh slp; shoulder. 10. mt bl on mt dk slp; as 42:3. 11. bl on rd; shoulder. 12. = 43:33. 13. bl on tan; shoulder (photo dk).

All from the Corinth Forum West excavations. l. 70-544; as 38:32. 2. 70-545; as 38:32. 3. 70-546; as 38:32. 4. 70-543; as 38:32. 5. 70-557; = 41:3. 6. 70-560; = 43:2. 7. 70-558; = 38:31. 8. 70-556; mauve on crm in; simple lip band & grve out; as 39:20. 9. 70-559; as 38:25. 10. 70-555; = 43:62. 11. 70-554; body. 12. 70-539; large; crse; dk pnk; body. 13. 70-549; = 43:12. 14. = 43:13. 15. 70-534; mt ch n bur crm; rm as 41:10. 16. 70-548; = 43:28. 17. 70-538; = 43:54. 18. 70-536;mt bl on crm slp; as 41:3.

Fig. 83 All from Gonia. l . = 49:11. 2. rim. 3. = 49:10. 4. aVIII; = 46:3 out; as 44:11. 5. aVII; in; as 40:22. 6. FVII; in; body. 7. etaVIII; in; body. 8. wh slp; body. 9. = 46:13. 10. rd & thn mauve on bf; body. 11. = 44:20. 12. = 44:21. 13. = 44:12. 14. = 45:14. 15. aVI; out; body. 16. body. 17. = 46:8. 18. wh slp; body. 19. body. 20. etaVI; body. 21. FVII; = 45:19. 22. = 44:19. 23. = 44:7.

Fig. 86 All from the Corinth Forum West excavations. l. 70-299; = 38:32. 2. 70-218; = 39:22. 3. 70-224; = 38:8. 4. 70-289; 40:4. 5. 70-297; lt crm; bl crazed pnk. 6. 70-289; = 40:4.

Fig. 87 All are from Klenia except L. L. Corinth 70-94; = 44:6. 2. = 40:6. 3. = 53:8. 4. bur bl on bur or-brn; as 41:11. 5. 46:42; 81:25. 6. = 45:27. 7. body.

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

8. 9. 10. 11. 12.

lstr bl on low bur grn gr. = 43:44. = 43:44. base as 41:25. = 43:56.

3. 4. 5. 6. 7. 8. 9.

Fig. 88 All from Klenia. l. = 45:24. 2. = 44:15. 3. = 37:19. 4. = 43:27. 5. jar neck. 6. = 42:9.

as 27:16. = 27:16. bl stroke burnish; as 47:11. = 48:10. = 48:29. = 48:18. = 49:7.

Fig. 94 1. 2. 3. 4. 5. 6. 7. 8.

Fig. 89 All from Alepotrypa. l. = 43:25. 2. = 42:6. 3. ch on strky wh slp; as 42:15. 4. dk ch on bf; collar as 42:11; handle. 5. = 46:46. 6. = 42:13. 7. sim 42:13.

Corinth 68-49; 1940 excavation, New Museum extension. Klenia = 47:8. Akrata = 47:32. Klenia = 47:4. Klenia = 47:1. Klenia = 47:9. Klenia = 47:12. Klenia = 47:9.

Fig. 95 All from Klenia. 1. wh & rd on smth gr-tan out; lt rd in; body & handle, as 50:11. 2. wh crust; body. 3. = 50:14; base. 4. = 50:7. 5. = 50:12. 6. wh crust; body. 7. = 50;4. 8. = 50:2. 9. as 50:4. 10. as 50:2,4. 11. = 50:5. 12. = 50:6. 13. = 50:6. 14. = 35:25. 15. = 35:24. 16. wh crust; vert tube lug; = 51:14. 17. wh crust; plastic decor. 18. wh crust; long strap handle. 19. 50:13.

Fig. 90 1.

from Alepotrypa; 2-6 from Corinth 1937; 7-15 from Corinth LWK. 1. = 29:12. 3. as 32:12. 6. as 26:19. 8. = 32:20. 9. = 33:3. 11. as 32:23. 12. as 33:14, belly.

Fig. 91 All from Klenia. 1. = 31:22. 2. lt gr; as 33:14, belly. 3. = 33:2. 4. = 32:3. 5. = 30:26. 6. = 49:3. 7. gr; handle on bowl as 33:14. 8. = 32:11. 9. lt grn-gr; strap handle; as 25:4. 10. = 33:6.

Fig. 96 All from Alepotrypa. 1. = 56:16. 2. = 56:8. 3. open bowl rm. 4. open bowl rm. 5. open bowl rm. 6. = 53:9. 7. = 52:2. 8. = 52:9. 9. = 60:9. 10. = 60:6. 11. = 56:10.

Fig. 92 All from Corinth. 1. 70-562; from a mixed context with Forum West and later material; bl; bl b; part of shallow bowl or ladle with handle rising from rim; ware and finish do not look EN (p.209). 2. = 29:4. 4. 70-273; bl b, wh ghost pnk; as 29:11. 5. = 28:5. 6. 70-473; Grey on Grey; sim 35:27, rim.

Fig. 97 1. 2. 3. 4. 5.

Fig. 93 All from Klenia. 1. = 51:19. 2. = 49:2.

167

Alepotrypa = 54:15. Asea = 54:17. Alepotrypa = 56:18. = 56:7. Alepotrypa; = 56:7. = 56:14. Alepotrypa; = 56:14.

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

Fig. 98 Fig. 102

All from Alepotrypa. 1. Wide-mouthed jar. 2. = 55:10. 3. complete collar jar. 4. = 57:4.

1. Alepotrypa (Hauptmann 1971 fig. 52b); fn grained marble; broken at waist; h. .065m; head identical to a painted & incised clay head from Franchthi (Jacobsen 1973b pl.52d,e). 2. Alepotrypa (Papathanasopoulos 1996, 224, no. 31; Demacopoulou 1998, 80, fig. 121); fn grained marble; broken at neck; h. .087m; sim torso from Athens Acropolis (Hesperia 8, 1939, 406; fig. 88). 3. Alepotrypa = 61:18. 4. Asea fig. 111:1; hd med fn bl, wh grts; thn dull rd skins; well b warm tan; broken neck & waist; arms bent at elbow; shoulder width .070m (1:1).

Fig. 99 All from Alepotrypa. 1. = 60:10. 2. = 60:4. 3. = 59:1. 4. as 57:1. 5. = 57:3. 6. = 61:11; body & handle as 60:9. 7. body. 8. body. 9. body. 10. body. 11. body. 12. body.

Fig. 103 1. Sparta Museum 5610. L. .148; W. butt .066, centre .011, blade .009; max Th. .0105m. Top, bottom and sides flat, corners square. Rounded butt slightly jagged, and swollen from percussion or haft-squeeze. Blade with ground bevel, rounded and slightly battered. The whole tool is curved downwards and sideways, probably from use. A patch of pale green corrosion on one side (v.photo) bears faint impressions as from a bone or antler sleeve. The cut on the top is modern. 2. 5611. L. .078; W. butt .018, blade 1037; max Th. .011m. Convex top, flat bottom and sides; corners square. The butt has rough-cast pitting and a casting depression, and shows no signs of percussion or squeeze. The blade is sharp, but burred at the corners. 3. 5612. L .061; W. butt .017, blade .010; max Th. .009m. Top slightly convex, bottom slightly hollow near the blade, sides flat; corners square. Butt slightly oblique, with porous granular surface and burred edges; probably broken and reused. Blade sharp, straight and slightly battered. For a similar chisel, cf. Demokopoulou 1998,35. 4. 040; av. Th. .003; expanded end d. .005m. Another similar, broken, with small casting protuberance, still rough, near break. 5. d. .055; av. Th. .004; expanded ends d. .007m. Surface shows gold coloured streaks at one place, and there are shakes on one side as from cold bending or hammering. Another similar, restored. 6. Small beads d. ca .003m, apparently cut as segments from a continuous, seamless tube with max wall Th. .00025. Central bead d. ca .0065, W. .003m (photo slightly larger than 1:1). 7. Oval bead: L. .011; max d. .0075; end d. .005m. Made from thin sheet silver. Pendant: max L. .024; max Th. .003. Possibly cast. One face slightly convex; the other, flat. The holes have been drilled and reamed (ca 2:1). Papathanasopoulos 1996, 227, nos. 41, 42, 43; Demokopoulou 1998, 65, fig. 65. Variations of these pendants are widespread throughout the Balkans in a variety of materials. The two known others, however, are of beaten foil (Euripides Cave: Demokopoulou 1998, 64, fig. 62; Mari 2000, 3, fig. 1:2, and the burial cave of Amnisos, Herakleion: Demokopoulou 1998, 64, fig. 63

Fig. 100 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Klenia body. Klenia pithos rim. Klenia body. Ayioryitika. Ayioryitika. Ayioryitika pithos rim. Klenia as 59:2. Klenia = 54:13. Klenia body. Klenia = 59:2.

Fig. 101 1-5 from Alepotrypa; 6-15 from Klenia; 16-25 from Alepotrypa. 1. body; handle as 60:0 but narrower. 2. = 58:4. 3. tube handle on bowl rim. 4. = 60:12. 5. = 60:11. 6. = 51:13. 7. = 51:11. 8. = 51:3. 9. = 51:14; 95:16. 10. = 51:6. 11. = 51:20. 12. = 51:10. 13. = 51:25. 14. = 51:22. 15. knob; rm as 51:11. 16. = 60:2. 17. or-rd; dk dusky surface; body. 18. = 37:24. 19. dk gr; broken & ground ped from below. 20. = 25:25. 21. = 55:19. 22. = 55:20. 23. = 55:16. 24. = 55:25. 25. as 55:19.

The metal from Alepotrypa has been briefly discussed above (p.12). The copper tools, along with the two Sesklo axes, were, with the permission of Professor Marinatos, drilled in 1970 by Professor Eiler Henrickson for a trace element analysis by neutron activation at the Democritos establishment. Unfortunately, due to an error, the samples

168

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

were lost. The jewellery and tools, with other more recent metal finds by Papathanasopoulos (Lambert 1972a, 860) make Alepotrypa the richest site in Greece for metal artifacts of this period. It has been suggested above that this period is not later than the transition from Final Neolithic to EH I, and contemporary with the earliest Grotta-Pelos phase. This is my conclusion from a study of the pottery which was available before 1971, when Papathanasopoulos made the first archaeological excavations in the cave. The typological evidence of the metal artifacts themselves cannot be strong because so little pre-EH II metalwork is known in the Aegean. The adze is unique in this region; there is one almost identical from the Grotta Tominz at San Canziano, near Trieste, not well dated and geographically remote, but from a general Aeneolithic context. Copper tools from possibly Neolithic contexts in Albania, including a “hache-burin” indicate that metal was perhaps in use at this time along the southern Adriatic coast (Bull. d’Arch. S.-E. Eur.2, 1972,

13), and axes typologically close to late stone celts are known from a few neolithic sites in Greece and Crete (Pevkakia, perhaps Sesklo, Knossos); one in the BSA “from Spata’ is an exact replica of a common type of Neolithic celt. The chisels have parallels in EB I Aegean contexts (Troy I; Poliochni) as well as later ones. The pendant has close parallels, in other materials and in metal, at Eileithya, Kitsos, Pevkakia and Sesklo. Further afield it is a common type in the East Aegean, the Balkans and Central Europe, and is found as far north as West Gotland, at different periods. Since the above was written, the Final Neolithic site of Strofilas, on Andros, currently being excavated by Christina Televantou, has produced “several copper tools, spearheads and brooches” and numbers of these pendants, both as artifacts and pecked into the rock surface.

169

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170

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171

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173

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FIG. 1 175

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FIG. 2 176

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FIG. 3 177

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FIG. 4 178

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FIG. 5 179

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FIG. 6 180

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FIG. 7 181

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FIG. 8 182

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34 27

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FIG. 9 183

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FIG. 10 184

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FIG. 11 185

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FIG. 12 186

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FIG. 13 187

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FIG. 14 188

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FIG. 15 189

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FIG. 16 190

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FIG. 17 191

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FIG. 18 192

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FIG. 19 193

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FIG. 20 194

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FIG. 21 195

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FIG. 22 196

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FIG. 23 197

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FIG. 24 198

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FIG. 25 199

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FIG. 26 200

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FIG. 27 201

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FIG. 28 202

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FIG. 29 203

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FIG. 30 204

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FIG. 31 205

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FIG. 32 206

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FIG. 33 207

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FIG. 34 208

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FIG. 35 209

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FIG. 36 210

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FIG. 37 211

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FIG. 38 212

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FIG. 39 213

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FIG. 40 214

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FIG. 41 215

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FIG. 42 216

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FIG. 43 217

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61

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NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

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FIG. 44 218

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FIG. 45 219

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11

14

15

13

12

8

18

19 20

22

21

23

25 24 32 29

26

27

28

31

30

33

34

35

36

39 38

41

42

43

40

37

45

44

46

FIG. 46 220

47

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2

1

3

5 7

4

6

8 9

10

12

11

17

16

15

14

13

19 18

20

21

22

24

23

26 27

25

29

28

30

33

31

34

32

FIG. 47 221

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2

1

4

3

5

8 6 7

10 9

12

11

14

13

19

18

16

15

17

20

21

23 22

26

25

27

24

32

28

29

30

FIG. 48 222

31

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2 4

3

7

6

5

9

8

11 10

13 12 14

15

16 17

FIG. 49 223

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1 2

3 5

6

4

9 8

7

11

10

13

12

14

15

18 16

17

FIG. 50 224

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3

2

4 1

8

7

6 5

10

11

9

14

12

13 17 15 16 18

19

20 23

21 22

24

28

26

25

29

27

30

FIG. 51 225

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

4

5

6

7

8

9

FIG. 52 226

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

9

3

4

5

7 6

8

2

FIG. 53 227

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2 1

4 5 3

8

7 6

10 9

13

12

11

14

15

16

17

FIG. 54 228

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3 1 2

4

5

6

7

8

10 9

11

13

12

14

17

16

15

21

18 19

20 22

23

25

24

FIG. 55 229

26

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2 1 3

4

5

6

7

10 9

8

11 13 12 14

15 16

17

18

FIG. 56 230

1

FIG. 57 231

3

2

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1 2

4

3

5

FIG. 58 232

1

FIG. 59 233

7

3

6

2

8

5

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

4 5 6

8

9

7

11 12 10

13

14

15

FIG. 60 234

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

5

10

2

6

3

7

4

8

9

11 12

13 14

15

16

18

17

19

FIG. 61 235

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

MAP 1

FIG. 62 236

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

MAP 2

FIG. 63 237

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

MAP 3

FIG. 64 238

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

MAP 4

FIG. 65 239

24

9

FIG. 66

240

26

21

5

1

10

22

6

2

27

11

3

7

25

23

4

12

28

8

29

13

17

34

32

18

35

30

36

16

14

37

31

19

38

33

20

15

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

6

15

2

0

7

3

4

5

8

9

11

16

17

12

10

13

10a

14

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 67 241

6

1

4

7

5

8

2

9

3

11

10

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 68 242

5

1

11

FIG. 69

243

34

33

29

8

2

6

30

12

3

35

31

9

13

10

14

4

36

32

7

15

40

37

25

19

26

22

43

38

16

23

41

20

27

17

44

39

28

21

18

42

24

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

8

4

2

5

3

6

9

7

10

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 70 244

1

2

3

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 71 245

4

1

2

5

3

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 72 246

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1 2

3 4

5

6

FIG. 73 247

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

3

1

2

4

7

6

5

10

11 12

9

13

15 14

17

16

19

18

21

8

23 22

25

FIG. 74 248

20

24

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

8 3

2

1

5

6

22

15

14

13

12

11

10 4

9

7

25 24 17

16

18 27 26

20

21

19 23

28

29

31

30

FIG. 75 249

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2

1 4

3

7

6

5

9 10

8

12 13

11

FIG. 76 250

5

1

8

2

6

22

7

18

3

4

21

19

20

23

12

9

14

15

10

11

13

17

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 77 251

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

1

1

2

3

4

5

6

FIG. 78 252

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

4

FIG. 79 253

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

4 3

FIG. 80 254

21

1

16

4

13

19

17

14

2

5

20

18

3

6

15

7

22

10

27

25

8

11

28

23

12

9

26

24

29

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 81 255

1

7

3

8

4

2

9

5

12

11

10

13

6

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 82 256

26 25

29

1

6

21

2

8

3

22

9

4

10

23

5

7

24

11

17

27

28

12

18

15

13

19

16

14

20

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 83 257

9

1

7

2

8

10

11

3

4

12

5

6

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 84 258

18

1

4

12

2

3

13

14

5

9

6

17

10

15

7

11

16

8

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 85 259

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

4

5

6

FIG. 86 260

5

6

1

7

10

8

2

11

4

9

3

12

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 87 261

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1 2

3

4 6

5

FIG. 88 262

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

5

4

6

FIG. 89 263

7

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

4

5

7 8

10

11

9

12

14 15

13

FIG. 90 264

6

5

1

6

2

9

7

3

8

10

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 91 265

3

4

1

5

6

2

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 92 266

7

5

1

8

6

2

3

9

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 93 267

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

3

5 4 6

8

7

FIG. 94 268

9

2

11

1

14

12

3

15

13

4

6

18

5

16

17

7

9

19

8

10

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 95 269

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1 2

4

3

5

6

8

7

9

11

10

FIG. 96 270

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

1

2

4

3

5

FIG. 97 271

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

2 1

3 4

FIG. 98 272

8

6

1

7

2

9

3

10

5

4

11

12

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 99 273

7

1

9

3

2

8

5

10

4

6

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 100 274

15 3

25 18

16

1

19

4

17

5

2

20

6

21

13

7

24

11

22

8

23

9

14

10

12

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 101 275

1

3

2

4

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 102 276

4

6 5

1

3

2

7

NEOLITHIC POTTERY SEQUENCE IN SOUTHERN GREECE

FIG. 103 277