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AS the Oriental motives pour into the Greek world, a new development begins, which in the details of its course is still hard to grasp, the collision of the native Geometric style with Oriental influence, the fusion of both elements into a new unity, and the growth of the archaic style. In contrast with the quiet and consistent unfolding of Geometric style, the process to anyone who goes deep into its details takes on the character of a restless fermentation, and an almost dramatic tension. It occupies, roughly speaking, the 7th century. Without forgetting how arbitrary divisions in the history of Art must always be, let us here treat as one the period from the end of the Geometric style to the abandonment of filling ornament, the change in technique of clay and colouring, and the formation of the established body of black-figured types.

The smelting process took on a different character in the different regions, according to the tenacity with which the old style was retained, and the intensity of the contact with the East. In most places there follows first a period of hesitation and experimentalism, out of which finally the new style is formed. Nowhere does the Oriental element simply take the place of the Greek Geometric; the acquisitions of the old style, the fixed vase shapes, the principles of decoration, and the technique, remain and are further developed. Greek pottery was much too highly and richly developed, too firmly rooted, to find it necessary to imitate Oriental clay vases. The stimuli were of much more general nature; they are chiefly visible in the ornamentation and pictorial types, they are taken from metal vases and richly embroidered materials, from costly carpets, articles of jewellery, engraved gems, and other fine things, which the foreign trader or the seafaring Greek brought from the Near or Far East or saw with his own eyes abroad. It became apparent to him, that the Geometric style was really poverty-stricken and mathematical. The feeling for finely-drawn line and vivid reproduction of life awoke in view of the freer Art of the East; the Greek made the Oriental models his own and created out of them and the mathematical element a new Art. Not all stimuli come direct from the East; perhaps only comparatively few, which were then passed on, were constantly altered and took on varied local colour. It looks as if the stream of Oriental influence took two different routes, one by way of the Greek East (Rhodes, Samos, Miletus) and another by way of Crete, which evidently had a strong influence on the Cyclades and Peloponnesus.

In Crete Phoenician metal objects have been found, which were imported during the Geometric period, and the Cretan Geometric pottery soon takes up motives of decoration borrowed from the Oriental or Orientalizing metal industry. The row of ‘S’s,’ which plays a part in Geometric bronzes, appears as we have seen on the Kavusi jug (p. 27). Its climax is the cable pattern (guilloche), which is obviously borrowed from Phoenician metal vessels (Fig. 26). The tongue pattern (Fig. 25-27) which surrounds the lower part and the shoulder of the vases, like the rays similarly used (Fig. 31-35), goes back ultimately to Egyptian plant calyces. The connection with bronze patterns is fully proved by the dots often placed on the ornaments, by the technique of adding white on black painted vases (Fig. 29)

PLATE XIV.

Fig. 27. CRETAN MINIATURE JUG.

Fig. 28. THE FLIGHT FROM THE CAVE OF POLYPHEMUS, FROM A JUG FROM ÆGINA.

which aims at a metallic effect, and by the change of the vase shapes. These often get a quite non-ceramic appearance (Fig. 25), and in their rounding and contouring, especially by the emphasis on the foot (Figs. 25 and 27), they are in contrast with the Geometric forms. The Praisos jug (Fig. 26) is obviously under Cypriot influence, as is the delicate Berlin jug (Fig. 27), in which a previously described class (p. 27) reaches its high water mark. The Praisos pitcher (Fig. 25) to the Orientalizing patterns enumerated already adds the hook spirals, which are characteristic of the 7th century, and the Berlin jug adds also the volute and the palmette. The plastic head which crowns this little bottle, and is entirely inspired by the Egypto-Phoenician ideas of form, inaugurates a new era in the representation of man. We are now in the time when Greek sculpture was born, in that notable period when Greek art under the influence of Oriental art took to the chisel, to enter on a century of development which ended in giving shape to the loftiest and most delicate creations that can move the spirit of man. It is noteworthy that Greek tradition embodied the beginnings of this development in a Cretan, Daedalus, and to a kinsman of this ancestor of all Greek sculptors it traced back the invention of the great art of painting, without the influence of which we cannot conceive of vase-paintings henceforward.

The first period of the transitional style betrays little of this influence. The reproduction of living beings is dominated by the decorative figures of the East, especially monsters and fabulous beings, which now make their entry into Greek art, and exercise a powerful attraction not only on plastic art, but on poetic and mythopœic fancy. Thus the Geometric silhouette is superseded. If even the preceding age had felt the need of leaving void a hole to indicate the eye, now the head is completely rendered by an outline and made lifelike by interior drawing (Fig. 30). The next stage is that the whole body also is rendered in contour. To make the transition plain, we show here a vase-fragment, the Cretan origin of which is not established, but which must be in close connection with Cretan art, the Ram jug from Aegina (Fig. 28). The animal frieze, with its hook spirals, dot rosettes, rhombi and triangles to fill the space, is characteristic of older Oriental art; the drawing of the rams is far beyond Geometric technique; in the body too the silhouette is given up, and indication of the hide is attempted. This animal frieze is no longer an end in itself: by the men clinging to them the ornamental rams become mythical rams, the rams of the Odyssey. The fugitives are not very closely connected with their saviours, and the giant must have been more than blind not to notice them. But on the other hand the artist has drawn them very clearly, has put both arms and both legs in view of the spectator, and even, where a small detail would not otherwise have shown well, made a small nick in the belly of the ram. This shows how the artist of the period could with difficulty do without a clear outline.

These attempts are perfected in the outlined figure of a plate from Praisos, which is certainly Cretan (Fig. 29). The childishly disproportioned structure has now become a clear organism of genuine Greek stamp, full of excellent observation of nature; the ornamentally constrained picture becomes now a free version of a legend, which however cannot be interpreted with certainty, till the white object under the sea-monster has been explained. It is most likely that we may see in it the foot of a female figure filling the left half of the plate, perhaps Thetis, who escapes from the attacks of Peleus by changing into a fish. The interior incised lines in the body of the sea-monster are a novelty, which the ceramic art has developed