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The Relationship of Late Minoan II to Late Minoan III A1

and may have been painted by the same person. Such a close similarity is, however, rare in Kamares pottery. The amphorae F 1681 and F 538 of Group D seem rather similar in their arrangement of leaf-shaped vertical motifs within narrow zones, painted in light-ondark technique showing the light clay ground. The decoration is, however, different. In F i68i, the leafshaped motif consists of antithetic J-spirals arranged at alternating heights with an interior chain of S-spiral derivatives. In F 538, it consists of vertical dentate bands. The leaf-shaped vertical motif in F 609, which is also included in the group, is an antithetic J-spiral not unlike the ones in F 168I, but it plays another and much less important part in the decoration. The main motif is here a "Zwei-Pass," similar to many of the motifs in Group A, as Pelagatti herself points out. The decoration of all these vases in a light-on-dark technique with the light clay ground visible is not sufficient to justify their classification as a special group. This combination of colors is frequently found in large Kamares vessels of a domestic but not coarse character. Many similar vases (cf. Group E) are decorated entirely in dark-on-light technique. Rather than characteristic of a workshop or of an individual painter, this color scheme is related to a class of vases having special quality and function. Group E consists of amphorae and jugs, not unlike the vases of Group D. They are, as mentioned above, decorated in dark-on-light technique. The decoration consists of antithetic J-spirals on each side of the body, which enclose the vessel with curved, divergent lines. They are arranged in the same way and, according to Pelagatti, they must all have been painted by the same artist within a short period of time. It is, however, difficult to identify a painter or a workshop in this case. The motif is reminiscent of plants and palms and obviously related to some pictorialized motifs,6 but its main function is to accentuate the shape. The curved, divergent lines are conditioned by the vessel shape and this prevents us from recognizing a special manner of drawing lines. Thus, it is impossible to isolate any details characteristic of a single painter. The motif as well as the arrangement are frequent in Minoan pottery from the Classical Kamares phase onwards. They develop into the "stylized" floral decoration of some LM II vases and provide an interesting link between Kamares and this much later stylistic phase. The LM II motifs represent a reversion to abstract or pictorialized motifs, once created for and conditioned by Kamares composition, rather than a stylization of a representative motif.