Jugs and Juglets

A jug, in Desmond Morris's structural vocabulary, is a "one-handled vessel with neck," a class that takes in the juglet, the tankard and the pitcher [1, p. 48]. It is the commonest closed shape in Cypriot pottery: "Jugs are common at all phases and in all wares," Morris wrote, and he named the two parts that make them useful for dating, the base and the spout [1, p. 48]. On this site the jug is one of the nine basic shapes, and the bucket gathers everything the museums call jug, juglet, oinochoe, pitcher, tankard, bilbil, barrel jug and dipper juglet. Jugs with two or three necks are described below under multi-necked jugs; animal-bodied askoi and other composite forms are treated under complex vessels; a narrow-necked vessel with no handle or two handles is a bottle. The jug has a starting point. It does not appear in Cyprus before the Philia facies of about 2400 BCE, and from then until the end of the Cypro-Classical period it changes in ways that can be read: round bases give way to ring bases, cut-away spouts to trefoil mouths, handmade bodies to wheel-thrown ones. The header image shows a large Bichrome IV jug with vertical circle systems in the Drakopoulos collection, 31 cm high and of Cypro-Archaic I date.

Definition and names

Morris reduced the simple Cypriot shapes to ten types defined by structure alone, definitions that "do not depend upon or rashly imply any kind of function" [1, p. 48]. He set this against the habit of naming Cypriot pots after Greek vessels whose use is known, which comments on a resemblance and implies a function at the same stroke [1, p. 48]. The Iron Age jug suffers most from this. Catalogues routinely call the trefoil-mouthed jug an oinochoe, the Greek wine jug, and the site uses the word as an alias because readers will meet it, but the name records a likeness of shape and nothing about what the Cypriot vessel held. The Metropolitan Museum's catalogue of the Cesnola collection calls the same vessels simply jugs [2, p. 93], and the site's article on the Cypriot oinochoe follows the type at length.

The definition has two working edges. A juglet is a small jug, and no agreed height divides the two. And a vessel with one handle and a wide neck sits on the line between jug and jar. The Drakopoulos Red Polished one-handled jar in the Deneia style is a compact globular pot with a short wide neck and a stout handle rising in a high arch from the rim; it is catalogued as a jar, and Morris's one-handle rule files it here.

Reading a jug: base and spout

Morris gave the rules in a single paragraph. Round bases dominate in the Early and Middle Bronze Ages; ring bases take over in the Late Bronze Age; in the Iron Age flat bases and ring bases are the two common types [1, p. 48]. Three rarer bases are datable too. The nipple base, a small variant of the round base, belongs to the Early and Middle Bronze Ages. The barrel base, where the lower body has "the contours of a barrel lying on its side," appears in the Iron Age only. Tripod jugs, round bases sprouting "three short stumpy legs," appear to be confined to the Early and Middle Bronze Ages. Pointed bases turn up sporadically in every period [1, p. 48].

The spout follows a parallel rule. A round mouth is popular in all periods; the beak-shaped and cut-away spouts are popular in the Bronze Age and not in the Iron Age; the pinched spout, the mouth pressed in from two sides into three lobes (the trefoil of the catalogues), is popular in the Iron Age and not in the Bronze Age [1, p. 48]. A second, side-spout occurs occasionally in every period, "a feature which separates the functions of filling and pouring" [1, p. 48]. Morris's word is "popular," and he meant it: his own collection included Middle Bronze Age handmade White Painted jugs with double-pinched spouts [1, p. 57]. The rules sort the bulk of the material, and the exceptions are real.

The Philia jugs are the early exception to the base rule. Jennifer Webb and David Frankel list "narrow-necked beak-spouted jugs and juglets" among the Philia novelties, together with rod handles and "separately fashioned flat bases" [3, p. 39]. Red Polished jugs in general, mostly with a cut-away neck and a flat base, have affinities with Anatolian shapes [2, p. 27]. The round base that later dominates has a practical consequence: Louise Steel notes that round-bottomed Red Polished pots cannot be set on a flat surface, and wonders whether the flat and ring bases that spread at the start of the Late Bronze Age reflect a change in how people ate [4].

Early and Middle Bronze Age: the handmade jug

The Red Polished jug of the Early Cypriot cemeteries is the textbook case of Morris's Bronze Age rules. The Drakopoulos collection has a run of them from Early Cypriot III to Middle Cypriot I, about 2100 to 1850 BCE. A beak-mouthed jug has a round base, a globular body and a mouth drawn up at the front into a short beak. The beak-spouted jug with side-spout pictured here has a spherical body on a rounded base, a neck ending in a tall beak cut away obliquely to a point, and a tubular side-spout projecting upward from the opposite shoulder, so that the pot has one opening for filling and another for pouring in exactly Morris's sense. The large ones are big vessels: two round-spouted Red Polished jugs in Morris's collection stand 38.3 and 40.3 cm high [1, p. 49].

The jug was also the shape the north-coast potters most liked to multiply, with two or three necks and modelled figures on the shoulder (see multi-necked jugs below).

In the Middle Cypriot period the cut-away spout passed into White Painted, the handmade ware painted in matt dark paint on a pale ground. The Drakopoulos White Painted II jug with cut-away neck is an egg-shaped jug on a small rounded base, flattened just enough to stand, with a narrow tubular neck cut away obliquely into a long beak; the White Painted III to IV juglet of about 1850 to 1650 BCE is the same idea in miniature, its neck leaning forward away from the handle.

Late Bronze Age: ring bases and export juglets

The potter's wheel appears in Cyprus at the start of the Late Bronze Age, around 1650 BCE, as a "fully formed package," but it was not taken up by everyone, and handmade and wheel-made traditions ran side by side for centuries [5, p. 13]. Studies of Late Cypriot manufacture show potters combining hand-building and wheel-forming in different ways while keeping the finished shapes consistent [6, p. 220]. The fine jugs of the period stayed handmade. Base Ring ware jugs and juglets stand on the ring bases of Morris's rule: the Drakopoulos Base Ring II jug with white-painted lattice bands has an ovoid body on a splayed ring foot and a long cylindrical neck, and the Base Ring II bilbil juglet has a squat body on a short splaying ring foot, a tall tapering neck opening into a flared rim, and a handle springing from the middle of the neck.

The bilbil was a container for export, and what it held is argued. The theory that Base Ring juglets carried liquid opium has been revived for some Iron Age juglets as well [7; 8, p. 126]; the bilbil itself is discussed under bottle and Base Ring ware. A second export juglet is filed here although its name points elsewhere (see dipper). The White Shaved "dipper juglet" is a closed, spindle-shaped container with a pointed base and one handle, named after the Palestinian dipper juglets it imitates. Barry Gittlen showed that the elongated form makes up 97 per cent of the White Shaved pottery found in Palestine and 94 per cent of that found on Cyprus, that three times as many have been found in Palestine as on the island, and that the Cypriot distribution is confined to the neighbourhood of Enkomi; he concluded that they "were manufactured specifically to meet the demands of the existing Palestinian market" [9, pp. 55–56].

Iron Age: Gjerstad's framework

From about 1050 BCE to the end of the Cypro-Classical period Cypriot potters produced a wide range of jugs, and their changing forms and decoration are among the main markers of the period's culture [10, p. 53; 11, p. 224]. From the eleventh century BCE onwards Cypriot fine pottery was an "exclusively fast-wheel standardised product" [12, p. 18], and Vassos Karageorghis observed that the wheel "did not allow the freedom of handmade pottery," so that Archaic potters showed their skill more in painting than in shape [2, p. 78].

The Iron Age jug is classified within the system of Einar Gjerstad, published in the fourth volume of the Swedish Cyprus Expedition [13, p. 38; 14]. Gjerstad divided the Iron Age into Cypro-Geometric I to III (c. 1050 to 750 BCE), Cypro-Archaic I and II (c. 750 to 480 BCE) and Cypro-Classical I and II, and classified pottery into Types I to VII corresponding roughly to those phases, so that a White Painted jug of Cypro-Geometric I is White Painted I [15, p. 3; 16, p. 49]. A vessel's Type was fixed by ware and by shape together, and his descriptions of White Painted shapes served as the reference for the other wares of the same Type [17, p. 224]. The Types overlap: Type I continues into Cypro-Geometric II and Type II into Cypro-Geometric III [16, p. 49], and Red Slip, Black-on-Red and Bichrome Red all began earlier than Gjerstad placed them [17, p. 224].

The system has two known weaknesses. It was built almost entirely from tomb and sanctuary groups, which makes it hard to apply to the broken sherds of settlements and surveys [11, p. 87; 13, p. 38]. And it treated the island as a single site, assuming one island-wide pottery tradition [17, p. 225], although Gjerstad himself expected that local styles would one day be identified and make "the complexity of cultural pattern ... stand out with all lucidity" [17, p. 227]. Later work has done this, identifying regional workshops at Salamis, Amathus, Kition, Lapithos and the Paphos region, and showing that some differences Gjerstad read as chronological are geographical [13, p. 38; 18, p. 34; 17, p. 229].

Iron Age forms: trefoil jugs and handle-ridge juglets

The trefoil jug is Morris's pinched spout in its Iron Age home. An early example in the Drakopoulos collection is the Black Slip Bucchero jug with trefoil mouth of Cypro-Geometric I to II, a small globular jug on a low ring foot with its body cut into close vertical flutes. By Cypro-Archaic I and II the trefoil jug was the favourite vessel for free-field painting [2, p. 93], with a single large motif set on the open shoulder opposite the handle. The collection's White Painted IV trefoil jug pictured here has a full ovoid body on a low ring base and, on the shoulder, a wild goat beside a composite plant-like figure in matt black on a pale buff ground. Smaller trefoil jugs often carry a painted eye on the side lobe of the mouth, as on the White Painted trefoil jug with painted eyes and swastikas.

The third Iron Age form is the small juglet with a ridge on the neck from which the handle springs, the "handle-ridge" or "neck-ridge" juglet. Gjerstad thought the ridged neck was a foreign feature, but Joanna Smith points out that it had been part of the Cypriot barrel jug since the beginning of the Iron Age [17, p. 227]. In Black-on-Red ware it became one of the most widely exported Cypriot products; the British Museum has a Black-on-Red juglet with a neck-ridge, and on the Drakopoulos Bichrome IV handle-ridge juglet the handle springs from a sharp moulded ridge midway up the neck. Black-on-Red juglets in the collection also include a squat biconical juglet with a disc mouth of Cypro-Archaic I to II and a trefoil-mouthed juglet with ringed circles. These juglet forms were probably inspired by Phoenician prototypes [15, p. 7; 19, p. 232]. The shapes of some Iron Age jugs follow metal prototypes, as if the potters were copying vessels of bronze or silver [20; 14].

Round-mouthed jugs

The round-mouthed jug has a plain circular mouth, with or without a flaring rim, and a handle from rim or neck to shoulder. It is the one spout in Morris's scheme that is "popular in all periods" [1, p. 48], and so the one that dates a jug least well on its own; the base and the ware have to do the work. The type is descriptive: Morris calls it a "round spout," and the term "round-mouthed jug" is the one used in the catalogue of the Lapithos workshops [18, p. 19].

The round mouth is already present on the largest Red Polished jugs of the Early Bronze Age. Morris's round-spouted jugs on round bases include a relief-decorated example 38.3 cm high and a plain one of 40.3 cm with a stylised face on the neck [1, p. 49]. At Sotira-Kaminoudhia the Philia-phase repertoire includes a large jug with round spout [21]. In the Middle Bronze Age the Ashmolean's White Painted II round-mouthed jug, 26.3 cm high, shows the type in painted ware.

In the Late Bronze Age and the Early Iron Age the round mouth belongs to the wheel-made plain and monochrome jugs. The British Museum's Plain White Wheelmade globular jug, of about 1600 to 1200 BCE, has a slightly concave neck, a round mouth with a flattened rim and a potmark on the handle; the same museum's Bucchero wheel-made jug has a stepped rim, a ridge at the base of the neck and a body fluted by shaving. At Lapithos, round-mouthed jugs with a vertical handle from neck to shoulder were very popular in the Cypro-Geometric workshops. They came in two variants, on a conical foot or on a ring base, developed from Late Cypriot local types, and were made mainly in Plain White ware; the jug on a conical foot in Plain White is specific to Lapithos in Cypro-Geometric I [18, p. 19]. See all round-mouthed jugs in the catalogue.

Beak-spouted jugs

A beak-spouted jug has its mouth drawn up and forward into a point, usually by cutting the top of the neck away obliquely, so that the cut-away jug of the catalogues is the commonest form of the type. Morris counts beak-shaped and cut-away spouts as popular in the Bronze Age and not in the Iron Age [1, p. 48].

The beak spout arrives with the Philia facies. Webb and Frankel list "narrow-necked beak-spouted jugs and juglets" among its novelties [3, p. 39], and the excavators of Sotira-Kaminoudhia describe the jug with a long beak spout as "so characteristic of Philia Phase sites elsewhere, especially the type site of Philia Vasiliko"; its absence from the Kaminoudhia settlement pottery is one of the features that set that site apart, although a Red Polished beak-spouted juglet was found in one of its tombs [21]. Morris's compound vessels show how far the idea was taken: in an Early Bronze Age Philia Red Polished piece, two small cut-away beak-spouted juglets sit on a parent jug with the same spout [1, p. 103].

In the Early and Middle Cypriot cemeteries the beak spout sits on round-based jugs of every size. The Drakopoulos Red Polished beak-mouthed jug with concentric circles and chevrons and the beak-spouted jug with side-spout are Early Cypriot III to Middle Cypriot I. The British Museum's Drab Polished beak-mouth jug, of about 1850 to 1650 BCE and 14.5 cm high, has a globular body, four double suspension rings and incised pendant lines (see Drab Polished ware). The cut-away neck then passed into handmade White Painted, as on the Drakopoulos White Painted II jug described above. See all beak-spouted jugs in the catalogue.

Gourd jugs

The gourd jug, or gourd juglet in its smaller sizes, has a round, gourd-like body on a round base and a narrow neck, often tilted back from the handle. It is an Early and Middle Bronze Age form, made above all in Red Polished III. James Stewart gave it a place in his Red Polished typology as a variety of his Type IB, and a gourd juglet catalogued by Robert Merrillees is dated Early Cypriot III to Middle Cypriot II [22]. "Gourd" describes the body. The mouth can be round, funnel-shaped or cut away, so a gourd jug may also be a beak-spouted jug: Morris's catalogue files his small incised Red Polished jugs with round base and round spout under the heading "gourd juglets" [1, p. 352].

Typical features are a piriform or globular body, a long, narrow cylindrical neck, a single handle from neck to shoulder, and incised decoration filled with white. The British Museum's Red Polished III gourd jug has a piriform body on a round base and a funnel mouth; the Ashmolean's incised gourd juglet is 12.3 cm high, and another of its Red Polished gourd juglets, AN1953.259, only 9.5 cm. The shape continued into White Painted, as on the Ashmolean's White Painted gourd juglet with cutaway spout, 22 cm high.

Some gourd jugs carry figures. Morris notes that "on a few of the many Red Polished gourd-shaped jugs there is a diminutive Plank Figure, of the classic Shoulder Figure type, protruding from the body of the vessel, opposite the handle" [1, p. 152]; the figures themselves are described under plank figures. See all gourd jugs in the catalogue.

Multi-necked jugs

A multi-necked jug has two or, more rarely, three necks rising from a single body. It is a Red Polished form of the Early and Middle Bronze Age, at home in the north-coast cemeteries, and it overlaps with the compound vessels in which small jugs or bowls are attached to a parent jug [1, p. 103]. The necks may end in cut-away spouts or funnel mouths, and they are often bridged to each other by a handle or a clay strut.

The largest examples are big and elaborate. A Red Polished jug from Vounous A, Tomb 161, now in Birmingham Museum and Art Gallery, has a piriform body, two long necks with cut-away spouts, a handle from both spouts to the shoulder, a smaller handle between the necks and an animal figurine on the side of each neck; it is 69.5 cm high [23, p. 150]. A double-necked jug from Episkopi in the Cyprus Museum, 44 cm high, has its two cylindrical necks bridged below the mouth and near the base, and an animal figurine serves as its handle [23, p. 150]. Ora Negbi noted that the incised decoration of Red Polished jugs recurs on two-necked jugs of the same ware from Vounous Tombs 8, 17 and 19 [24].

The Drakopoulos double-necked jug with two modelled birds, about 57 cm high, is discussed in its own article on the Vounous double-necked bird jug. Smaller pieces include the Ashmolean's double-necked Red Polished jug with bulbous body, 24.8 cm high, and a single broken neck from a three-necked jug. The type did not end with Red Polished: the Pierides Museum in Larnaca holds a White Painted twin-necked jug. See all multi-necked jugs in the catalogue.

Barrel jugs

The barrel jug is Morris's barrel base: a body thrown on the wheel, closed at both ends and laid on its side, with a neck set into the upper face. It is one of the characteristic shapes of Cypro-Geometric II and was made after Levantine prototypes [25, p. 126]. Gjerstad traced its development through the Types. In White Painted II "the collar-shaped mouth of the White Painted I jugs" had been "elongated into a funnel, while the rudiment of the collar has been transformed into a handle-ridge, from which the handle runs down to the shoulder" [14, p. 52], and in each later Type the body grows longer, until in Type V it is "still more elongated," almost a spindle [14]. The Drakopoulos Bichrome barrel jug with circled end-knobs has a short, rounded body with a knob at the centre of each closed end, which places it early in the sequence, probably Cypro-Geometric III. The Museum of Fine Arts, Boston holds a Cypro-Geometric I barrel-shaped jug of Bichrome ware. The shape is well known at Lapithos, Salamis, Amathus and Palaepaphos and rare at Kition, where a single barrel juglet is known [17, p. 207]. Small barrel juglets travelled to the Levant, where they mark Cypriot contact in the tenth and ninth centuries BCE [26; 17, p. 207].

Gilboa's study of the miniature barrel juglets gives the Cypriot sequence. They are attested from Cypro-Geometric I, but are absent from the earliest Cypro-Geometric I tomb groups at Palaepaphos-Skales and appear in Cypro-Geometric IB to II contexts at Marion, Skales, Kourion-Kaloriziki and Amathus; most Bichrome barrel juglets carry a red band under the rim, and circles drawn round the end-knobs are typical of Cypriot decorative syntax [26]. Two miniature Bichrome barrel juglets from Khirbet Qeiyafa, one 8.8 cm high, are among the earliest such vessels shipped out of Cyprus [26]. Larger barrel jugs went on into the Cypro-Archaic period. The Metropolitan Museum's barrel jug with strainer, 35 cm high and of Cypro-Archaic I date, is painted with a large bird in flight between two lotus flowers; the museum's catalogue notes that such jugs cannot stand on their own and were found in tombs, mainly in eastern Cyprus. See all barrel jugs in the catalogue.

Lekythoi

The word lekythos is used in two senses. Strictly, a lekythos is the narrow-necked, one-handled oil vessel of Greek type. In Cyprus it is rare: a lekythos from Tomb 215 at Ayios Athanasios, on the northern edge of Limassol, is described as "a vase with a rare shape that is found in Attica, but is little attested in Cyprus." Archaic Greek pottery stayed outside the local potters' repertoire in that region, while in the Classical period Aegean influence on local production becomes clear [27]. The Metropolitan Museum's alabaster squat lekythos, 13.3 cm high and of Classical date, is a stone version of the Greek form, a globular body with a short narrow neck.

Museum catalogues also use "lekythos" for Iron Age Cypriot juglets, usually as "lekythos or juglet." These are the neck-ridge juglets described above under Iron Age forms, with the handle springing from a ridge on the neck. The British Museum's Black-on-Red lekythos has a globular body, a trumpet mouth, a neck-ridge and a flat base, and is dated about 850 to 600 BCE; its Red Slip lekythos has a baggy ovoid body on a low ring base, a carinated shoulder and a handle from shoulder to neck-ridge; and its Bichrome Red lekythos has a biconical neck with a ridge and a flat mushroom lip, both of about 750 to 600 BCE. These are Cypriot shapes in Black-on-Red, Red Slip and Bichrome Red ware, and the Greek name is a catalogue convention. When a catalogue label says "lekythos," the ware and the neck-ridge tell which kind is meant. See all lekythoi in the catalogue.

Wares and workshops

The commonest Iron Age decorated wares were White Painted, black paint on a pale ground (for example the collection's White Painted IV ovoid trefoil jug with concentric circles, about 23 cm high), and Bichrome, which adds red [15, p. 6]. Bichrome had Levantine roots and flourished in the eastern workshops, especially at Salamis, where potters used the red to outline motifs as well as to fill them [15, p. 6; 28, pp. 338–339]. The black of these wares changed with the bichrome fashion. Analyses of pigments show that black was made with iron-rich paint fired in a reducing atmosphere from the Neolithic to the Middle Bronze Age, and with manganese-rich umbers from the Late Bronze Age, apparently because manganese black and iron red were the easiest way to get two colours from one firing; the manganese black was then kept for monochrome painting [29; 30, p. 5; 31; 32, p. 8].

In Cypro-Geometric III two red-slipped wares appeared, plain Red Slip and Black-on-Red [25, p. 126; 15, p. 6]. Black-on-Red, black geometric decoration on a lustrous red or orange slip, became one of the most popular Cypriot exports of the ninth and eighth centuries [28, p. 365]. Its spread in the Levant and its similarity to Phoenician red wares produced the older name "Cypro-Phoenician" and the idea of a "Phoenician and Cypriote Mischkultur" [19; 33, p. 28], and early Levantine stratigraphy seemed to date the ware there well before its accepted start in Cyprus [33, p. 28; 14]. Current work makes it Cypriot. Clay analyses led Brodie and Steel to conclude that "although the initial stimulus for manufacture of Black-on-Red ware was probably provided by imported Phoenician pottery, it was a Cypriot product" [19, p. 232]; Anna Georgiadou places its invention in the Paphos workshops of Cypro-Geometric III [15, p. 6]; and new dates from Megiddo reopen the Cypriot absolute chronology [34]. The site's article on the origins of Black-on-Red ware follows the debate.

The fabric of the fine juglets is finely levigated clay with very small white or, more often, black inclusions [19, p. 4], and White Painted and Bichrome jugs were usually covered with a thick, well-smoothed whitish slip [25, p. 127]. Petrography, neutron activation and X-ray fluorescence compare a vessel's chemical signature with known clays or reference groups [35; 36, p. 44; 37, p. 10], and lead isotopes can now distinguish the main geological zones of the island [38]. These methods have confirmed regional production [8, p. 162]: Salamis favoured Bichrome, while the Paphian workshops made little Bichrome and much fine Black-on-Red [28, p. 338]. Georgiadou's work on the regional workshops ties pottery styles to the territories of the Iron Age kingdoms [12, p. 18; 33, p. 14]. The collection's Bichrome jug with a wide neck, of Bichrome IV to V, pairs black circles on the shoulder with strokes of red.

Function and find contexts

Morris listed the jug among vessels for storing and for pouring [1, p. 47], and the shape itself says little more. Ethnographic studies of traditional Cypriot pottery show a repertoire dominated by jugs and storage containers of all sizes [39, p. 88] (see also jars). Fine jugs were probably used to serve wine at meals and at the feasts that mattered to the Early Iron Age elite [40, p. 127; 41]. The small juglets found in Cyprus and abroad are associated with the trade in perfumed oils and unguents [15, p. 7]. Residue analysis has been tried on prehistoric Cypriot pottery, but the contents of the Iron Age jugs remain inferred [42, p. 12].

Most complete jugs come from tombs and sanctuaries [43, p. 121; 13, p. 173]. In tombs they may have held provisions for the dead or been used in the funeral itself [43, p. 121; 5, p. 40]. In the Aegean, imported Black-on-Red juglets are found almost only in graves, which suggests their contents were used to anoint the dead, while larger Cypriot jugs in rich Greek burials may belong with elite wine drinking [28, p. 381]. In sanctuaries jugs may have been used for libations before being dedicated [44, p. 297]. The Bichrome Red jugs of the late Archaic and Classical periods with a modelled woman on the shoulder holding a miniature jug were made in the western workshops, and Georgiadou gives them a special ritual function [15, p. 8]. Morris owned the top half of one, in which the small jug held by the seated woman forms a side-spout [1, p. 42], and Yale University Art Gallery holds a Cypriot "woman and pitcher" jug of about 450 BC.

Distribution and imitation

From the ninth and eighth centuries BCE Cypriot jugs and juglets, Black-on-Red above all, went in quantity to the Levantine coast, to sites such as Megiddo and Tell Keisan, and to Crete, the Dodecanese and Euboea [28, p. 365; 45]. In Greek contexts the commonest Cypriot shapes are the small neck-ridge juglets and a few trefoil-lipped oinochoai [28, p. 381]. At Knossos the Black-on-Red juglets are the commonest Cypriot import and were often imitated in local clay; Nicolas Coldstream dated their popularity there to about 800 to 700 BCE [17, p. 207]. In the Dodecanese a short-lived series of Late Geometric jugs combined Cypriot and Phoenician features [28, p. 380], and in the sixth century Athenian potters made black-figure oinochoai copying a Cypriot metal jug, several of which have been found at Marion and Amathus [20; 40, p. 129].

Named examples

Summary

The Cypriot jug begins with the Philia facies and runs to the end of the Cypro-Classical period, and its base and mouth carry its date. Round bases and cut-away or beaked spouts mark the handmade Bronze Age jug; ring bases arrive with the Late Bronze Age and its Base Ring and White Shaved export juglets; flat and ring bases, trefoil mouths and the barrel body mark the wheel-made Iron Age jug, whose finer chronology is Gjerstad's typology, now read region by region. The names are modern. The Greek oinochoe records a likeness to a wine jug, and what any Cypriot jug held is inferred from its size, its company in the tomb and the places it was exported to, since residue evidence is still lacking.