Hand-made wares of black or other dark clay, with painted decoration
in white or ochre. These fabrics are rather rare, and the paint is
easily washed off. The forms follow those of class B.

Classes B and C seem to begin early in the Bronze Age, and are
gradually replaced by the corresponding wheel-made fabrics of class
D.

D.
Wheel-made pottery begins in the Bronze Age, and is distinguished by
its symmetrical forms, and by the texture of the inner surface,
especially about the rim and base, where the potter's fingers have
grazed the whirling clay. Self-coloured wares still occur, and are
sometimes elegant ('bucchero' ware); but the improved furnaces now
permit general use of light-coloured clays, suited to painted
decoration. Glazed paint is still rare, and may be taken as probable
token of date not earlier than the end of the Bronze Age. The glaze-
painted wares of the Greek island-world occasionally wandered to the
mainland a little earlier than this, but not far from the coast. On
wheel-made pottery the ornament is either (a) applied while the pot
is on the wheel, and consequently limited to lines and bands
following the plane of rotation, or (b) added afterwards, free-hand,
usually between such bands, and especially on the neck and shoulder.

Simple rectilinear schemes are commonest (panels, lozenges, and
triangles, enriched with lattice and chequers) (V, Figs. 9, 10, 11, 12);
with these in the Early Iron Age appear little targets of concentric
circles drawn mechanically with compasses (V, Figs. 13-15); also, by
degrees, birds (V, Fig. 16), animals, and simple plant designs
(rosettes, lotus, palmette), and occasionally human figures. But as a
rule, the mainland pottery is very simply decorated, and insular
imports are rare, except within the area within Greek colonization.

In the Later Iron Age or Historic Period, from the seventh century
onward, the pot-fabrics of Asia Minor rapidly assimilate two main
classes of foreign fashions, Greek and Oriental.

E.
The Oriental types (mainly from Syria) are all plump and heavy
looking, usually in coarse buff or cream-coloured ware, almost
without paint. The Greek forms are more graceful, varied, and
specialized; light-coloured clays predominate, with simple bands of
black ill-glazed paint, absorbed by the inferior clays.

After Alexander's time the Greek and the Oriental forms became
confused; the general level of style and execution falls, painted
decoration alm