ajorttell

Stljata,

IntucrHttg Sithrarg Ntm ^ark

BOUGHT WITH THE INCOME OF THE

SAGE ENDOWMENT FUND

THE GIFT OF

HENRY W. SAGE
1891

CORNELL UNIVERSITY LIBRARY

3 1924 081

667 820

Cornell University Library

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in
text.

the United States on the use of the

http://www.archive.org/details/cu31924081667820

THE PALACE OF MINOS

AT KNOSSOS

THE

PALACE OF MINOS
A COMPARATIVE ACCOUNT OF THE SUCCESSIVE STAGES OF THE EARLY CRETAN CIVILIZATION AS ILLUSTRATED BY THE DISCOVERIES

AT KNOSSOS
By sir

ARTHUR EVANS
ROYAL GOLD MEDALLIST,
R.LB
A.
:

D.LITT., ETC., F.R.S., F.B.A.,

FOREIGN MEMBER OF lUE R.ACAD. OF THE LINCET, OF THE BAVARIAN, R.D.\NISH, SWEDISH. .\ND SERBIAN ACADS. OF THE GOTTINGEN SOC. OF SCIENCES, OF THE H..^C.VD. OF SCIENCES, AMSTERDAM, OF THE GERMAN, AUSTRIAN AND AMERICAN ARCH. INSTS. AND THE ARCH. SOC. OF ATPIENS CORRESFONUANT DE L'INSTITUT DE FR.VNCE

HONORARY KEEPER AND VISITOR OF THE ASHMOLEAN MUSEUM IN THE UNIVERSITY OF OXFORD HON. FELLOW
:

OF BRASENOSE COLLEGE

Volume

III

THE GREAT TRANSITIONAL AGE IN THE NORTHERN AND EASTERN SECTIONS OF THE PALACE THE MOST BRILLIANT RECORDS OF MINOAN ART AND THE EVIDENCES OF AN ADVANCED RELIGION
:

FIGURES IN THE TEXT, PLANS, COLOURED AND 11 SUPPLEMENTARY PLATES. 13 {SECTION OF THE 'GRAND STAIRCASE' AND PLANS AND PERSPECTIVE DRAWING OF THE DOMESTIC g UARTER IN POCKET AT THE END OF THE VOLUME)
PFITH 367
'
'

MACMILLAN AND
ST.

LIMITED MARTIN'S STREET, LONDON

CO.,
1930

/V

& a fc G
COPYRIGHT

PRINTED IN GREAT BRITAIN AT THE OXFORD UNIVERSITY PRESS

PREFACE
good deal of space was reserved for a survey of the neighbouring town houses and dependencies of the Palace. It was also thought desirable to take a more general survey of Knossos in its geographical relations, its position with
of this work, issued in two parts, a

In the Second

Volume

regard to Aegean
line

and the record of some remarkable evidences of a of ancient road connexion across the Island to a port on the Libyan
traffic,

Sea,

The Third Volume, now

completed,

is,

like the First,

more exclusively

connected with the Palace

itself.

The

account of the building follows

on that included

in the latter half of Vol. II, Part II, relating to the great

Restoration of the

West Wing of

the building after the destructive earthIII.

quake that took place towards the close of M. M.

The

earlier

and

later history of the

great Transitional Age, which

is

embraces the whole of the Third Middle Minoan Period,

here methodically

explored throughout the remaining Palace regions, beginning with the North-

western and Northern

been now
for the first
artistic

Entrance systems and

working round by the

details

Eastern slope, past the great Bastion

remarkable of which have time recovered the Domestic Quarter beyond.

to
' '

The
to light

remains with which we are confronted

respects pre-eminent
site.

in following

out this

circuit are in

many

amongst

all

such
'

relics

brought

on the Palace

The

'

Miniature Frescoes

by a

series of

Coloured Plates

here

illustrated

that

seem

to stand in connexion with a

their vivid conversational

small shrine of the North-West Palace section

with

sketches of Court ladies, are unique in Ancient Art.

in the
'

Fragmentary remains

same Miniature style and some closely related small reliefs lead us on the other hand to the siege scene here reg^arded as a historic record
'

on the

silver

'

rhyton

'

from Mycenae, of which the original form

is

given

for the first time.

So, too, a microscopic design of a coursing bull marvellously painted

on the lower surface of a crystal plaque

drawing

illustrated

by an enlarged coloured
In view of the parallels

gives us a glimpse of the high perfection already attained in

a Minoan Art more characteristic of the Sei Cento.

that they present to the miniature and other small

Minoan

wall-paintings,

it

has also been thought desirable here to supply some examples of the inlaid

vi

THE PALACE OF MINOS,

'

ETC.

designs

on weapons from Mycenae and elsewhere that have been well

painting in metals
Gillieron,
fils,
'.

described as

Thanks

to

the valuable assistance of

Monsieur E.
a

it

has been possible to accompany these by

processes

graphic

record

of

the

successive
first

by which they were

of the remarkable

produced, and to add the

engrailed design
of the
'

authentic illustration
',

a blade from the Vapheio

Swimmers Tomb.
in the
'

recently revealed

by cleaning on
its

This series of designs

be authenticated.
occurred on

Miniature

'

style finds

counterpart in

a class of intaglios on signets, the funereal association of which can often

The

subjects of these

clay sealings from

the

interesting examples Palace can most

itself

of which
cases be
this

in

shown

to have, directly or indirectly, a religious character,

it

and from

point of view, as well as from the sympathy that

shows with the particular

relic

branch of the limners' Art referred

to above,

it

has been thought desirable to

of this class.

give a somewhat detailed account of the most remarkable

This

is

the massive gold signet-ring, containing representations of not less

in a

than fourteen figures, found

it

beehive tomb of Nestor's Pylos, and which

to rescue

was

my good
its

fortune

as the result of a special journey

It is

from the

hands of

native owner.^

not too

much
first

to say that the successive

scenes depicted on this ring supply our

authentic knowledge of the

Minoan After-world ^an Elysion rather than a Hades. The idea of resurgence is itself graphically conveyed by two chrysalises and corresponding butterflies above the Goddess's shoulders. At the same time the striking parallelism displayed by the style of the figures and of the whole
composition with the miniature class of wall-paintings has suggested an
actual translation of the design into colours

on the model of one of these.

The

reconstitution of the structures

above the Northern

'

Lustral
dis-

Area', by which
integration, has

the

remains
it

have been saved from progressive

Its
in

made

possible to furnish an adequate record of

site.

one of the most elegant monuments of the

what is sunken basin, indeed,

and the sombre tone of the wall-painting, now

part restored,

made

its

interior vault a fitting scene for rites connected with the

1

Minoan Goddess as

See

p.
;

145 seqq., and compare

Macmillans

and

of.

J.

H.

S. 1925.

my fuller account The Ring of Nestor, ^'c, published by Fresh corroboration of the association of the Minoan Godof resurgence to a

dess with the chrysalis as the

emblem

new

life

after

death

is

given here

from a Vapheio ring

'

(p. 148, Fig. 97).

Coloured Plate

XX a,

facing p. 157.

PREFACE
Lady of the Underworld.
In the

vii

same way, the

it

parallel

work on the

Northern Entrance Passage has brought with

a better knowledge of this

once splendid avenue of approach, overlooked on either side by the Porticoes

containing the great bull-grappling reliefs in coloured plaster.

These

plastic

compositions, to which the noble head of the charging bull belongs, have been

here brought into relation with the Elgin slabs of Knossian gypsum from

Mycenae, showing a similar head and the forefeet of a stationary

bull.

The

full

illustration

of dual compositions, referring respectively

in

to

the
is

hunting of half-wild bulls and the contrasted scene

used, has been traced in detail in the reliefs on the

which a decoy cow

cups.

Vapheio gold
to

At

the

same

time, the great

'

work of
'

reconstitution of the upper stories

facilities

carried out in the

Domestic Quarter

support supplied by reinforced concrete

thanks the new has made possible a

is

for

fuller

under-

standing of the structural and decorative details of the great Halls on that

up lobby opening from the second landing of the Grand

side.

The

shield frieze, a copy of which

now

set

in position in the

Staircase,
'

is

seen

to give a satisfactory
'

key to the actual arrangement of the

Hall of the

Double Axes below, where restored

replicas of the shields themselves

have

now been hung on the similar spiral bands above the dado. The evidence, now more fully interpreted, of the traces left in fallen stucco has also afforded adequate information of a wooden throne and canopy that had been fixed in the adjoining section of the Hall. The story of the contiguous
'Queen's Megaron'

the centre of the

in
'

women's domain

in the

Palace

has

been greatly augmented by the revelation of the

fine
'

earlier system, of

which the

mosaiko

'

pavement was
'

part uncovered beneath the floor of the

as

later hall.

The

Megaron

itself,

now

resuscitated, with
social
life

its

bath-room

and other conveniences,

it

calls

up a vision of

and amenities such as

would be hard

to parallel in the
in the

Ancient World.

The
upper
'

relics

found
',

area behind, precipitated from a windowless

Treasury

have been placed together in a collected group.

Apart

from the
fitted

ivories, the

most remarkable of these are

Tylissos has been here

steatite objects

which as

together prove to be the locks of a Sphinx of Hittite type, of which a

complete example from

added

to

one already

known from Hagia Triada.

shown
to

These

objects, with a socket in the back, are

be descendants of similar Chaldaean stone vessels, some of which

^

See the Coloured Frontispiece to

this

Volume.

viii

THE PALACE OF
as inkstands.

MINOS, ETC.
antiquity of this type has

seem to have served been demonstrated by

The remote

the recent discovery of one in the form of a boar in a

very early stratum at Ur.

Among

the ivories, the figurines of leaping youths, the remains of

fully illustrated,

which are here

may be

said

to excel

all

of the kind in the elan and free action that they display.

known works The remains of a

of a miniature

small relief of an ivory Sphinx in the

Minoan
it

style, part

painting of a pillar shrine adorned with double axes,

and two bronze axes

the other hand, such

themselves of the diminutive cult type, made

divinity itself should

strange that no figure of the

have occurred

in the deposit.

On

an ivory

figure,

seen by a competent archaeologist in private hands at Candia,

'

emerged on the other side of the Atlantic as the Boston Goddess' divine sister of the Lady of Knossos, holding out in this case golden snakes. The opinion, shared by our foreman and others, that
shortly afterwards

this
in

had been abstracted from the Ivory Deposit has certainly not lost credibility from a remarkable sequel. Also emanating from private
appearance.

possession at Candia, but released after a further discreet interval of time,

an ivory figure of a boy-God made

in rescuing this

its

Having been
in a
it

successful

from the midst of doubtful elements

Parisian dealer's

hands,

it

has been possible to ascertain the fact that

its

not only answers to

the other in
as

exquisite naturalistic style and individuality of expression, but,

tiptoe

shown standing on

and coifed with a high

tiara,

corresponds within

a millimetre or so in measurement.

The two

figures in fact form a single

group of the divine Child God saluting the Mother Goddess.^

An

illustration of the

Minoan worship of the Mother and Child had

later date

been already supplied by the painted clay figurine of a

found

in

tomb of the Mavro Spelio Cemetery

and published here
seated with the
chieftains,
for the first time.^

at

Knossos.

It is

supplemented by

a design on a gold signet-ring of the religious class recently found at Thisbe

On

this

we

see the

Holy Mother
by adorant
this
is

Babe on her knee and approached with

gifts

remote predecessors of the Magi.

be seen that from the point of view of Comparative Religion
like that supplied

It will

evidence

by the subjects on the

'

Ring of Nestor

'

of

the highest interest.

Important as are the remains of the 'Domestic Quarter' and the

1

See the restored arrangement,

P. 471, Fig. 328

p.

456, Fig. 318, below.

PREFACE
associated
relics, it

ix

looks as

if,

in the later

phase of the M. M. Ill Palace,

as well as throughout the succeeding epoch, the

monumental and

artistic

aspects of the building found their chief centre in a great

East Hall,

occupying the area immediately North of that quarter and approached from
the Central Court by a stepped portico, facing, though on a larger scale, the
'

Stepped Porch

'

on the other side of the Court.

'

An

earlier

East Hall, to
built at

which the beautiful

Ladies

in

Blue

'

fresco belonged,

had been

a lower level, somewhat below that of the pavement of the Court.

reconstruction of the plan of the later Hall
^

is

here given, based on the

well-preserved lines of the basement structures, while the existence of the

is further assured by the existence of the head of the shaft was drained. From the porticoes surrounding this had unquestionably been derived the remains of a series of painted high reliefs that had been precipitated into the space to the South-East at the time of the final

central light-court

by which

it

destruction of the building.

These noble fragments, which must be regarded as representing the final development of the Minoan Art of plaster relief, are for the first time fully illustrated in the present Volume, and to the description of the most important specimens I am happily able to add notes kindly supplied to me by the late Sir* William Richmond, R.A., whose artistic sense and special technical experience give a lasting value to his appreciations. For anatomic observations on these works I am also greatly indebted to Professor Arthur Thomson, F.R.S. The reliefs themselves are almost exclusively of an agonistic character and belong to boxing and wrestling bouts or the episodes of bull-grappling scenes. With them were also remains of a frieze of a more architectonic character, consisting of opposed pairs of Griffins, tied Fragmentary as they are, these various high reliefs represent to columns. the culminating achievement of Minoan plastic Art. The anatomical knowledge here displayed, the natural rendering of

human

forms, the delicate

treatment of the flesh surfaces, combined with the most powerful muscular
action, raise these

works
b. c.

executed

not later than the

artistic

first

half of the

Sixteenth Century
lines,

to

a level of

execution that, on the same

has hardly been surpassed by any later Age.

It is tantalizing, indeed, that, for

the completion of the figures and

composition to which these fragments belong,

1

we should only be

able,

and

P. 491-

THE PALACE OF
signets.

MINOS, ETC.
gems

that occasionally, to turn to small reliefs on vases or to intaglios on

and

Another very interesting discovery made on the borders of the area occupied by the East Hall was of the same tantalizing nature. This
consisted of large bronze curls belonging to the

upper part of the forein

head of a gigantesque female

which
lay.

figure

that

had been wrought

in the

a perish-

able material, a clue to which

it

may be
works

found

carbonized mass in

We

have here
'

in fact the
'

evidence of a

Xoanon

or

wooden

image, such as the

date
It

Daedalid

still

preserved at a comparatively late

in

Greece, that

may have

stood on the back section of this great Hall.

doubtless represented the great

its

Minoan Goddess

in

one of her aspects,

and

presence would mark the Hall as a temple as well as a meeting

place.

The

circuit of the building included in this

Volume may be
artistic

said to

com-

plete the general survey of the structures

and of the

and other remains

belonging to the great Transitional phase of Minoan culture that covers the

whole of the M. M. Ill Period.

of the succeeding Late
indeed, trated

It

has also inevitably included something

Minoan

style in the

days of
'

its earl)'

maturity, since,

much

of the later decorative system of the

'

Domestic Quarter'

illus-

by the Shield Fresco by the spiraliform dado bands in general, and by the traces of an extension of the Processional friezes to this region
',

belongs, as

is

fully

demonstrated

in

these pages, to an intermediate era of

?vl.

partial restoration that dates

from about the close of L.

I a.

To

this, too,

doubtless, the

'

Taureador panels must themselves, as a whole, be ascribed.

'

It is clear that a

the walls to

good deal of the decoration of this epoch remained on the time of the final catastrophe. But we already observe its
in

supersession in places, and notably

the Hall above that of the

Double

Axes and adjoining East- West

with the mature L. M.
II

Corridor,

by wall-paintings

in the later style

that marks the very latest phase of the Palace history and corresponds
Period.

A
as a

consideration of the remains of this later class

which represent
(IV)
of the

the

artistic fashions of the

Age
is

that saw the

final

destruction of the Palace

of this work.

Palace

is

reserved for the concluding

to

Volume
'

The
the

purest centre of these

be found

in the
its

Room

Throne

'

in

West

section of the buildine with

1

antechamber and surrounding

See pp. 522-4, Fig 365, 3C6.

PREFACE
Additional evidence
is

xi

structures, which, as already pointed out, belong exclusively to this Period.

also afforded in that Palace section

by the West

Porch, with the remains of a bull-grappling fresco, and by the Magazines on

that side in their existing state, comprising the bulk of the great store jars.

There

is

also a

mass of

fine

ceramic evidence from the Western borders of

the building in the shape of large painted vases in the highly decorative
'

Palace Style
In the

'.

concluding

Volume

of this

work must
tablets

also

necessarily

be
B,

included some account of the inscribed

of the Linear

Class
in
I.

which equally mark the

cases they possibly

latest stage in the Palace history

though
M.

some

go back

to

the closing phase

{/>)

of L.

The

most important deposits of these are also associated with the Western Palace region, though they also occur throughout the site. Of these tablets I hope to give a more complete description in the concluding part of my
Scripla Minoa, but no account of the Palace in
its

latest stage could

be

adequate without considerable reference to these clay archives.

the script itself
still

Although
of

eludes
clear

decipherment, the general purport

many
also

of the documents
objects to which
intelligible.

is

owing

to the illustrations that they give of the

is

they refer, while the accompanying numeration

They

thus supply a very extensive source of information as to

the contents of the Palace Magazines and Treasury as well as of the royal

Arsenal and
It
is

Mews

at this epoch.

impossible for

varied assistance afforded

and fellow workers.

Messieurs
J.

me to give adequate acknowledgement of the me in the present Volume by many kind friends am particularly indebted to my French colleagues.

Charbonneaux, Fernand Chapouthier, and R. Joly, for enabling by the results of their epoch-making discoveries in the Palace of Mallia.^ For sphragistic records Dr. Doro Levi's supplementary account of the clay sealings of Hagia Triada and of Zakro has also been of special service.^ Valuable assistance in the field of Egyptian and Oriental research

me

to profit

has,

as usual, been freely given

J.

me by

Dr. H. R. Hall of the British

Museum, and Mr. E.

1

Forsdyke has kindly looked over for

in

me

the

Three recent publications by these explorers

the Bulletin of the French School

Athens (1928) may here be mentioned. F. Chapouthier, Une Table a Offrandes au Palais de Mallia (cf. p. 392 seqq., below) ; R. Joly, La Salle hypostyle du Palais de Mallia ; J. Charbonat

neaux,
^

n Architecture
Doro
Levi,

et la Ce'ramiqiie

du Palais de Mallia.
e

Le

cretule di

Hagia Triada

di Zakro, in the Annuario of the Italian School

at

Athens, 1929.

xii

THE PALACE OF
my
who
friend

MINOS, ETC.
Minoan rodeo have
' '

proofs of this Volume. Useful suggestions regarding the

been due to
I

Professor Baldwin Brown.

loss

On

the other hand,

have suffered an irreparable

did so

by the untimely death of Dr. Stephanos

I

Xanthudides,
Island,

much

to illustrate the pre-history of his native

whose generous help was always forthcoming, and to whom been constantly indebted in the earlier Volumes of this work.

had

To Monsieur

E. Gillieron,

fils,

am

again greatly beholden for

fine drawings, including those illustrative of the technical processes

many made
'

use of by the Minoan artists

in inlaid

metal-work.

To

his recent labours

'

has been also due the restoration

in the

Palace

itself

of the

Shield Fresco

on the Staircase Lobby and of the actual shields themselves

below.

in the

great Hall

Mr. Piet de Jong, the Architect of the British School at Athens,

who

has carried out, under

my

direction, the recent

work of

reconstitution in the

Northern and Eastern Sections of the building, has executed a series of

restored plans and elevations, notably of the elegant structures above the

Northern Lustral Basin, of the Northern Entrance, with the porticoes above

on either
system.

side,

and of the Eastern Bastion, with

the

its

remarkable water-

With

new

facilities

supplied by the use of ferro-concrete he has

completed the work of roofing over the lower Halls and subsidiary structures
of the
'

Domestic Quarter by the restoration of the upper

'

floor,

and

in the

fourth landing and adjacent lobby.

work of reconstitution has reached the For all these later undertakings the immense task already accomplished in this area by Mr. Christian Doll happily afforded a secure basis, and his meticulously accurate measurements
case of the
Staircase this

Grand

have stood

all tests.

As

a result of these extensive works of conservation and resuscitation

not only has a great part of the history of this part of the building been
set forth
in

permanent manner, but the

progressive disintegration of

gypsum

surfaces from the effects of exposure to the heavy Cretan rainfall

It is

has been radically checked throughout a considerable area.

satisfaction that
I

with special

am

able to record that the strength and stability ensured

to the reconstituted structures

by the use of

this

new method has enabled

shock of earthquake

them

to resist with complete success the fresh severe

that took place in February of this year.

ARTHUR EVANS.
YouLEURY, Berks., near Oxford,
March
20, 1930.

CONTENTS
PAGE
68.
'

North-West Insula

North of Central Court, with Ramp Passage from N.W. Portico and Lustral Area Basement Chambers above Early Keep
' :

North- West Insula' its artistic revelations; Functional importance supplements Western borders of Central Court Area West of Central Court chief Cult Centre retrospective view Stepped Porch ', built over earlier Cists ; Block North of Porch, of L. M. II date Includes Room of the Throne N.E. Corner of old fa9ade and of Early Western Insula'; North-Western Insula' formed by Early Keep Elements of fortification in Early Palace ; Ramp passage round Keep from N.W. Entrance Initiatory Area and Votaries' entrance ; North-West Lustral Basin' of M. M. Ilia date; Restored plan and elevation of 'Lustral Basin and Superstructures Isolation of Sunken Area from other buildings ; Minoan bronze key found in doorway of later passage North-West Entrance partially blocked ; Basement Chambers above Pearly Keep ; Plinth bordering Court, and steps down M. M. II a paved floor over Walled Pits, belonging to large basement Chamber Later dividing wall M. M. lib; Gypsum steps re-used for pavement; Central Pillar of Western Basement in M. M..llb ; Exceptional evidences of stratification in Room of Knobbed Pithos ; Large black steatite vessel with spiral reliefs ; SaffronGatherer Fresco Later floors with stone lamps and tablets of Class B L. M. Ill a floors above these ; Basements bordering Central Court ; Rearrangement of supporting pier ; P'urther evidence supplied by 'Room of Knobbed Pithos ; M. M. Ill a pottery below later pavement (M. M. Ill b) Extension of M. M. Ill b floor, its continuous use in restored Palace ; Miniature Frescoes and Spiral Ceiling fallen on this level ; Stone lamps, and basins for ritual sprinkling.
'

that of

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

69.

Discovery of 'Spiral Ceiling' and 'Miniature Frescoes' derived from Corner Sanctuary Date and Comparative Materials; Embroidered Designs on Holy Robe

'

...
'

29

Small corner Sanctuary containing remains of Spiral Ceiling and Miniature Frescoes ; These fallen from Upper Chamber ; The Spiral Ceiling -Egyptian analogies Parallel from Tomb of Senmut Mature L. M. I decorative style ; The Miniature Frescoes triple group ; Chronological materials Fragments found on M. M. Ill floor law governing discoveries of fresco remains M. M. Ill date of frescoes ascertained Fragments from Thirteenth Magazine ; Characteristic specimen beneath base-blocks of later fagade P'ragment from Ivory Deposit True Miniature style obsolete by L. M. I ; M. M. Ill date of Miniature fragments from Tylissos Boxers as on rhyton unique bronze vessel Frescoes from Ramp House at Mycenae ; Fragments from Threshing-floor heap Miniature designs from embroideries on female robe ; Embossed bands ; Comparison with painted reliefs from Pseira ; Pairs of flutes ; Flutes in sacrificial scene on H. Triada sarcophagus Bull's head trophy between pair of Sphinxes ; Embroidered swallows on robe of Melian fresco ; Miniature fragments of Threshing-floor heap, perhaps from robe of Goddess ; Commanding position of Shrine, at angle of Central Court and N. Entrance Its small dimensions ; Miniature Frescoes set over gypsum dadoes, on line of vision.
' '

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'


xiv

; ; ; ;

CONTENTS
PAGE

70.

The Miniature Frescoes

i,

The Temple and Grand Stands

;

46

The 'Temple Fresco':

its technique; The 'Grand Stand' and Spectators; Artistic shorthand in delineation of figures Great numbers The men ; The women, more carefully represented 'Court Ladies'; Freedom in Art, without decadence; Relation of figures to earlier 'Ladies in Blue' close dependence; The Seated Ladies Groups A-E Groups compared with those of the rococo Age, as depicted in the boxes of theatres, &c. Separate groups of women in front seats mark of Matriarchal stage of Society Dramatic action Prominence of gesture language that of Naples compared Gestures in scenes on signet-rings primitive elements Women Isolated fragments with segregated in front seats but mixing freely with men below parallel groups; Window scenes Cypriote, Assyrian, and Biblical parallels; Contrast between Knossian Ladies and Oriental Hierodules ; Presumption that scenes of the Bull-ring were depicted in lower part of panel The Central Columnar Shrine ; Superposed Pillars of Grand Stand parallel examples Upward tapering posts and their analogies ; Theatral significance of single pillars in agonistic

'

'

'

'

scenes.

71.

The Miniature Frescoes:

' '
;

2,

Sacred Grove and Dance

66

The

Sacred Grove and Dance Centre of interest to left ; Self-absorption of the female groups The Dance separate performers ; Ritual Dance on Isopata signet Ecstatic figures Sacred Eye in background ; Ecstatic possession Philistine Prince at Dor ; Saul among the Prophets ; Dancer on ^'apheio gem ; Fresco of Dancing Lady in Queen's Megaron mature L. M. I work ; Terracotta group from Palai-

'

'

'

'

dance Central object of the Grove and Dance religious ; Aphrodite AriadnS Theseus and the Delian Crane Dance; Both sexes included in the 'Kastrin6s', &c. later ritual dance; Traditional Dances of Cretan peasants Mazy course of Dances All Chain Dances Secret Dance of the women Leaping Leaping Dance (ttt^Siktos xopos) tumbling performance, as Homeric Dance of Cretan Apollo Delphinios Siganos and choral accompaniment Matinadas The Dancing Ground of Ariadne at Knossos Its probable position and character as illustrated by Fresco Level site with old olive-trees beneath E. slope of Palace The Magic of the Spot.
kastro
'

ring

'

'

'

'

'

'

'

'

'

'

'

'

'

73.

The Miniature Frescoes:

3, Fragments of Siegk Scenes and Analogies supplied by the Megaron Frieze and Silver 'Rhyton' of Mycenae: Egyptian Parallels

....

81

Antiquity of theme in Egypt and Crete ^\'arriors hurling javelins on Knossian fragtnent ; Youthful Spearman ; Fragment of building, probably belonging to same subject ; Sacral horns not confined to Shrines ; Female figures visible in opening beneath entablature ; Correspondence of structure with faience House fronts ; The Megaron Frieze at Mycenae scenes of assault ; Warrior precipitated in front of wall prototype of Kapaneus ; Analogies from Egyptian siege scenes House facade on crystal tablet obliterated by workman ; Section of outer wall on Tylissos fresco ; The Silver rhyton with Siege Scene from Mycenae Shaft Grave ; graphic character of design ; Historic import Restoration of rhyton in conical form ; Continuous design land, sea, and conventional reticulation for shallows ; The besieged City its gate and towers Minoan character ; Separate fragment with superposed pillars and Sacral horns ' Non-Minoan element, however, among inhabitants; Shields of Minoan type; Shockhaired barbarians within the walls ; Friendly native allies, some arriving by sea Shipwreck and sea monster Hostile barbarians with primitive weapons stones, throwing sticks, and clubs ; Native ' friendlies better armed ; Minoan element among defenders warriors in boat ; The relief a historic record ; Topographical data

Miniature Frescoes depicting Siege Scenes

'

'

'

'

'

'

'

'

'

'

;; ; ;

CONTENTS
Presumptions in favour of Anatolian Coast ; Slings typical Asianic weapons Clubs also traditional Archers paralleled by Knossian small relief; Pictorial style, akin to that of Miniature Frescoes Anticipations of Scenes on Shields of Achilles and Herakles Besieged stronghold traditional in Egypt example from Fifth Dynasty Tomb of Anta its dramatic character Middle Empire examples Sensational versions of New Empire Was there a Minoan reaction on Egypt ? Cretan Miniature Art supplies link between Early Egypt and Epic tradition.
; ; ; ;

XV
PAGE

73.

Miniature Painting on Crystal: 'Painting' in Metal- work .107 Engrailed Designs on the Blades of Weapons
. .

Similar Subjects of Wall-paintings and small reliefs ; Other examples of painting on the hkck of Crystal lens of bull's eye and pommel of dagger; Painted Crystal plaque from Room of the Throne, presenting bull-catching scene Microscopic work ; Driven bull barred by rope ; Locks visible of leaping Cow-boy ; Perfection of Miniaturists' Art ; Painting in Metals Minoan intarsia work ; M. M. II dagger on from Lasithi ; The Mycenae daggers Egyptian adaptations ; ' Nile pieces dagger-blade description of technique; Hunting-leopards or Chitas ; Egyptian Caffre pheasants for watercats trained to catch ducks ; Indigenous Cretan versions

'

'

'

fowl ; Influence of Nile scenes on Minoan and Mycenaean Ceramic Art ; Also other examples ; Also frequent on intaglios duality of scenes on dagger-blade division into three, as on Vapheio Cups ; Dividing up of designs reflects separate Successive stages in panels of fresco technique ; Lion-hunt on Mycenae dagger execution ; Restoration of dagger duality of designs, again marked ; An Epic touch ; Original design drawn by eyewitness of lion-hunts ; Lions in Classical Greece ; Comparison with African scenes of lion-hunting in modern film {Simba) ; Lion bringing down Gazelle ; Fragment of painted relief of lion from S.E. Palace Angle ; Intaglio types derived from painted reliefs ; Type of hero stabbing lion on Mycenae bead-seal ; Copied by Third-Century Greek engraver Canea find Minoans personally acquainted with lions in every aspect ; Lion sacred to Minoan Goddess ; Vapheio dagger-blade with inlaid designs of swimmers ; Flying-fish on Vapheio blade compared with fresco Lilies on inlaid blade based on fresco band M. M. Ill parallels ; Masterpieces of inlaid metal-work recorded in Greek Epic implied knowledge of Minoan originals ; Yet the Art itself extinct long before Achaean invasions.

74.

Pictorial

Religious Subjects on Signet-rings, reflecting Miniature Style: the Ring of Nestor' Glimpse of Minoan
'

After-World
Pictorial

134

Religious Subjects on Class of Signet-rings dependence on frescoes Frescoes of religious nature ; Mycenae painted tablet with descending God ; Descending deities on Signet-rings ; Landscapes with rustic cult compared with Pompeian paintings ; Sacred Spring and Trees on ring ; Marine subjects ; Descending God on painted larnax Offertory scenes on H. Triada Sarcophagus ; Sarcophagal Art Origin of Minoan signet-ring from bead-seal primarily designed for suspension Mourning scenes on signet from Vapheio Tomb Dual composition of design Ecstatic effect of fruit of Sacred Tree ; P"unereal significance of body-shield ; Parallel design on Mycenae ring ; Similar ritual refreshment of Goddess ; Separate scene of mourning at grave hung with little shield ; Association of Goddess with boy-God Religious scenes nearer to the Christian than to the Classical Spirit Syrian and Anatolian affiliation ; Signet-rings made for use in this World and the next ensured protection of divinity ; The ' Ring of Nestor circumstances of finding and recovery ; Arrangement of bezel in compartments and zones by trunk and branches of Tree of the World ; Comparison with Yggdrasil and ' Tree of Paradise ; Interpretation of design ; Butterflies and chrysalises symbolical of resurgence ; Young couple
' ' ' ;
'

'

'

'

'


; ;

xvi

CONTENTS
PAGE
reunited in death ; Chthonic aspect of Minoan Goddess ; Her life-giving power Lion Guardian of Under-AVorld ; Initiatory examination by Griffin as Chief Intrue Elysion, in contrast with quisitor ; First insight into Minoan eschatology ; Hades ; Translation of design into Miniature Fresco Reflection of an original masterpiece in wall-painting representing the After-World.

75.

Upper Porticoes of N. Entrance Passage and theik Painted Reliefs of Bull-hunting Scenes compared with Those of Vapheio Cups
:

158

Miniature Frescoes contrasted with neighbouring deposit of painted stucco remains Good ashlar belonging to North Entrance Passage ; Successive stages of this masonry of Middle phase Fine works of reconstruction in M. M. Ilia; Proposed
' '
:

reconstitution of N. Entrance Passage

Approach to Sea Gate from W. and N. ; Safeguarding measures due to considerations of police Lower Pillar-Hill and light-area ; Presumed Upper Columnar Hall and Corridor linking it with Central Court Portico overlooking W. side of Entrance Passage ; Loggia with three structural divisions ; Painted reliefs of bull-grappling scenes Olive-trees in background Scene laid in Country ; Stratum containing painted fragments Remains of rock-work foreground ; Bovine reliefs Head of gigantic ankle ring bull its noble aspect ; Foot and hoof of bull ; Part of woman's leg Part of a female thigh ; Parallels from Vapheio Cups ; Recurrence of triple division ; Did the Palace friezes supply models elsewhere ? Fragmentary reliefs in Elgin Collection Indications of parallel frieze in E. Gallery ; Bull's leg found in connexion with it The Vapheio reliefs ; Cup A ; Girl grappling bull ; The necktwisting feat; Cup Capture through decoy Cow Evidences of Artistic cycle on vases and gems ; Limitations of intaglio technique ; Bull on seal-impressions nosing trail as in Cup B; Lassoing scene on gem; M. M. Ill date of painted reliefs from N. Entrance Passage ; Relatively late date of stratum with bull reliefs Part of reliefs seen in position by Greeks ; Olive-tree reliefs at two extremities ; Parallel survival of N.\\'. Portico ; Influence of remains on imagination of Hellenic
Traces of inner Gateway
;

settlers.

76.

Parallels supplied py Bull-reliefs in Elgin Collection from THE Atreus Tomb at Mycenae Two contrasted groups of bull-catching scenes on Vapheio Cups and gems Origi' '

192

Fragmentary reliefs in Elgin Collection material proves to be Knossian gypsum Found in front of Atreus fagade Supposed lion, a bull Bull's head resembles Knossian Olive-tree also introduced from similar bullElgin slabs hunting scene Slab with stationary bull answers to Vapheio Cup B from similar contrasted compositions Probably executed at Mycenae, by Minoan artist Friezes, not tympanum reliefs Were they from side-walls of Atreus dromos ? Possible existence of fore-hall to tomb Signs of restoration of dromos Re-used lintel-block, perhaps of entrance to fore-hall.
nate in Palace friezes
;
;
'

'

'

'

77.
'

The Taureador Frescoes

Cow-boy
'

203

the open to be distinguished from Circus Sports ; Oriental associations of the latter Cappadocian cylinder sealing; M. M. \a rhytons with acrobatic figures ; Covering on bulls parallels from early Cylinders and Bull of
feats in

'

'

Apis
in

Elements of distinction between the

;
'
'

two classes of subject

;

Theatral sports

honour of Goddess ; Miniature representations associated with shrine the Ivory Deposit Fragment from Queen's Megaron Early example from beneath Kasella' floor Deposit of Taureador Frescoes' probably belonging to Close of L. M. I a Their character and position on wall Elegance of female performers Use of Cestus round wrist ; Tumbler caught by female attendant Analogous
' '

'

'


'

CONTENTS
bronze group from Crete acme of Minoan metallurgic Art Diagrammatic sketch of acrobat's evolutions Conjectural form of Arena, fenced oval enclosure within Sacral Knots rectangular Dangerous aspect of sport overthrown performers before bulls, sign of Consecration Comparison with sports of the Amphitheatre and Plaza Spanish Corridas outgrowth of sports of Roman arena Was there a Matador on Thisbg bead-seal Female perSacrificial sequel to Minoan sports ? Precedence of women in formers devotees of Goddess signs of gentle birth Minoan Society Princes and Grandees participating in Spanish bull-fights comSurvival of pared Chevaleresque sanction in Spain just as religious in Crete Minoan taurokathapsia in Thessaly, in equestrian form the Oxford relief; Parallel Heroic feats of kind in Greece survival of earlier form of bull-grappling on foot Absorbing attachment of Minoans to bull-sports Attitude traced to Minoan source Reaction of monuof Roman and Spanish spectators compared and contrasted mental remains on Greek tradition but false idea of Captive performers.
;

xvii

PAGE

'

78.

The East Postern and Bastion: runnels with Parabolic Curves Chronological Place of That by East Steps of
'

Theatral Area'
' ' '

233

Insula Court of Stone Spout and Old Frontage line of N.E. Four lines of massive exterior walls East Postern its relation to East Slope Bastion Recess for Warder Staircase down E. Bastion with descending runnel Extraordinary evidence of hydraulic Fall of water controlled by parabolic curves knowledge Settling basin and further course of runnel Presumed tank for washing M.M. IIIi^ date; linen; A second staircase; Faintly incised signs on blocks Stepway with similar runnel South of 'Domestic Quarter', overlying M. M. Ill Magazines Further chronological materials Similar descending runnel by East New stratigraphic results regarding this Area Painted steps of Theatral Area Section beneath the Pottery with racquet and ball motives of Senusert IPs time East steps runnel of M. M. Ill a date.
'

Stepway down

'

'

79.

Advanced Minoan Water-system;

tain OF Fresco
;

Pipes and Conduits; FounCylinder-built Well with Minoan Signs AND Melian Parallel; Sumerian Comparlsons
.
. .

252

Advanced Minoan water-system; Sections of terra-cotta water-pipes Minoan Wells; Well composed of clay cylinders Discovery of M. M. I a well by Villa Ariadne CylinderRepetition of Minoan linear sign Incised signs on rims of clay drums Evidence for Greek or Greco-Roman built well of Late Mycenaean date, Phylakopi
;

origin of

Knossian example
at

Glass fragments
?

in exterior clay filling

Was

there here

a surviving tradition of

examples
of
80.

Ur

Oriental origin of cylinder-built wells in association with primitive stage of tholos tomb ; Fresh evidences
'
'

Minoan craftsmen
to early
',

Minoan indebtedness
'

Chaldaean

civilization.

East Corridor linking East Bastion and Stepway with 'Domestic Quarter': newly discovered 'East Portico' and later 'East Stairs'
.

262

preservation owing to recess in East slope; 'South-East stairs' from 'Domestic Quarter' to 'Corridor of Labyrinth ; ' North-East stairs from same and side access to Laundry steps ; East Corridor Main line from Domestic Quarter to stepway leading to East
Fortificatory aspect of East Bastion
'

and

wall-lines

special
'

'

'

'

'

'

'

'

Postern ; Earlier Magazines of Corded pithoi underlying its entrance system ; Blocking of 'East Corridor' its date at first mistakenly referred to M. M. Ill; Proves to be work of later squatters, with L. M. Ill pottery beneath it ; Division of Entrance Hall of 'East Corridor' in M.. M. III^; Doorway opening on 'Court of
' ' '

III.


xviii

;;; ;

CONTENTS
PAGE
'
'

Stone Spout with massive threshold slab East boundary of Court of Stone Spout Room of Stone Pier Lapidary's store Discovery of Verandah on its North side "Workshop above with unfinished Amphoras of worked blocks of Spartan basalt Presumed wooden steps from lower Bowl of Spartan basalt from Royal Tomb Store-room to upper Workshop; 'Lobby of the Wooden Posts' block above Balustrade pier raised to original position; Characteristic M. M. Ill timbering; Discovery of East Portico Symmetrical reversing of ^\'. and E. balustrades massive foundation blocks of four columns Agreeable open-air retreat from closed areas; Later 'East Stairs 'constructed after a seismic collapse Great Deposit of
' ;
'

'

'

'

'

'

Artisans within Minoan flower-pots; Comparison with similar contemporary deposits signs Palace of severe dislocation c 1520 B.C.; Evidence for dating spiral decoration in neighbouring halls.
L.

M.

I
;

a pottery beneath steps

vessels of ordinary use

Numerous

r.

Further Reconstitution oe the Domestic Quarter View of the UrrEu Story System
' '

'

General
282

Erroneous popular impression of Palace as a Maze ; True derivation of name Labyrinth ; Maze as sphragistic motive of Egyptian origin ; Regular and fourComsquare construction of Palace Scientific planning of Domestic Quarter Exceptional preservation of Domestic parative isolation of Women's Chambers Quarter'; Surprising discovery of Grand Staircase difficult tunnelling; Fallen
'
' ' ; ; '

by gypsum percolation.s, support Upper Stories Re-supporting and Reconstitution facilitated restoration of floors throughout Quarter a necessary work by use of ferro-concrete Flooring over of Lower Stories of Domestic Quarter' Restoration of floor of 'Upper Hall of Double Axes' 'I'he System of Light- wells; Light-courts necessary protection against fierce South-East and North-West winds slits cut in clifls and Palace wall; Upper \\'ind erosion of rocks due to S.E. blasts Story System above Great Halls; Fragment of L. M. II fresco i/i situ on wall; Decorative frieze associated with Upper Hall of Double Axes contemporary with
materials, petri fied
;
;

'

'

'

West Light-well of Hall Special facilities for social intercommunication between Upper and Lower Hall Partial segregation of sexes Private Chamber (Thalamos) above Queen's Megaron Windowless Chambers for Treasury and Archives These connected with a Shrine of the Double Axes Room of Stone Bench Fragments of Processional Fresco belong to partial restoration towards close of L. M. I a Service Staircase Compact planning of inner region.
spiral friezes of this area
; ;
;

'

'

8.;.

Grand Staircase and Loggia

as further restored; 'Shield Fresco' and its Derivatiyks Military axu Religious Import

299

Further reconstitution of Grand Staircase to fifth Flight Impressive effect a vision of the Past; 'Loggia of the Shield Fresco'; Fresco fragments thrown into nook below; 'Shield F'resco replaced in replica; Comparison with Tiryns frieze malachite green pigment in latter, of Egyptian derivation ; Tiryns shield frieze copied from Knossian fresco The great body-shields of Staircase loggias represent actual shields as hung in Hall below; Shield decoration answers to military spirit that marks last Age of Palace Indications of new D) nasty introduction of Linear Script B The Chariot Tablets ; Remains of smaller Shield Fresco Influence of Shield Frescoes on Ceramic design L. M. I a polychrome Goblet; Shields and Spirals on 'Palace Style' Amphora; Shields on L. M. I(i 'aryballos', Phylakopi Imported vessels with Shield designs at Gezer and Late Minoan sword Reflection of Shield friezes on seal-types: 8-shaped shield as religious emblem; Baet) lie' function comparison with ancilia ; Shields as decorative adjuncts Amuletic beads in shield form Minoan shield in field of signet gems as religious indication Associated with Minotaur Parade of Shields on Stairs suggestive both of temporal power and of divine pro;
: '

'

'

'

tection.

CONTENTS
83.

xix

'Hall ok the Double Axes' as reconstituted Down Grand Stairs to lower Halls Control of doors marks
;

....
of their swing and
;
'

PAGE 318

wooden lintels; Great heaps of calcined material Remains of carbonized columns; Downward taper of Shafts comparison with primitive stone pillars of Malta and Balearic Islands Knossian examples of such now to hand
bolts; Massive
; ;
'

Impressions of flutings on clay plaster The Hall of the Double Axes floor above reconstituted; Gypsum elements of lower Hall thus preserved Wooden framework filled in with cement \Vestern Section of Painted spiral frieze above dado slabs Hall An 'Audience Chamber'; Central Section or 'Inner Hall'; Eastern or 'Exterior' Section its Well; Symmetrically opposed doorways of Eastern Section; Back passage to 'Queen's Megaron Connexions with stepway from S.E. of Central Court Roofed Annexe to N.E. of this Section E. Wall and S. Corner View of Eastern and Southern Porticoes as restored Discovery of descending steps by S.E. doorway Access to Corridor of 'Labyrinth Fresco'; 'Tarazza' flooring of Lightcourts Results of tests beneath pavements Early ceramic and fresco remains Gypsum paving of Hall M. M. Ilirt; Area of Hall; High walls of Light-courts Traces of remains of wooden Canopy and Throne in Audience Chamber Inner Section of Hall Door-jambs serving as piers between Sections Elasticity of System Two-leaved doorways U'indow-like openings above doorways Red-coloured panes Spiral frieze compared with that of ? parchment; Inner Hall capable of isolation Shield Fresco' Presumption that real shields were hung along fresco band Actual shields replaced, in replica, on wall Restored view of Inner Hall the Chieftain at ease Rhyton for Religious side of scene Indications of Double Axe Cult libation Clay fire-box from Well Baetylic cult of Double Axes.
; ; ;

'

'

'

'

'

'

'

'

84.

Palace ? Epic tradition ; Isolated Halls at Tiryns, and Mycenae ; More open system at Knossos movable hearths ; Yet certain elements in common with Mainland plan ; Notched plume decoration of Knossian hearths on that of Mycenae ; Analogy supplied by relation of two Halls at Tiryns The Dog's-leg Corridor'; Double Compartments of Queen's Megaron ; Private Queen's Megaron ; BiPillared Stylobates of staircase and upper Thalamos columnar Portico and Eastern Light-area; Evidences of wind erosion; Data for Mosaiko pavement earlier history of Megaron ; Successive pavements and levels Mosaiko system below Gypsum slabbing ; Kalderim pavement below this ; M. M. II i^ its original extension Other evidences of M. M. II b date of Mosaiko pavements ; Nature-printed fresco with sponges associated with Mosaiko 'system ; Ceramic parallels to process ; Printed sponges a stage towards later 'Marine style'; Red gypsum border of Marine panel ; Gypsum pavement answers to later structures Underlying stratum M. M. Ilia in East section of Megaron' In inner section L. M. I a sherds predominate; Pillared stylobate connected with M. M. Ill paving; Wooden benches along stylobates Double Axe socket found by Central Stylobate ; Fresco of Dancing Lady; Painted stucco relief with papyrus pattern recalls ceiHng decoration of Orchomenos ; Parallels from Tirynthian friezes ; Fits in with L. M. 1 M. M. II walls; Incidence of light; Eastern Lightredecoration ; South Light-area area successive walls ; Reoccupation wall ; Remains of Dolphin Fresco ; Overlapping of decorative systems ; Painted stucco on Light-well wall Section of Dolphin Fresco reconstituted ; Painted clay tub; Bath-room of Queen's Megaron' remains of spiral frieze; Painted clay bath~L. M. II reed decoration; M. M. Ill bath compared; Water transport by hand labour; Back passage with spiral band ; possible Toilette Room and Latrine Plaster dais ; Great stone water-shafts in wall ideal interior view; cistern; Exceptional conveniences of 'Queen's Megaron' Holes in pavement slab for game Parallels from Mallia and Gournia ; Miniature

The Queen's Megaron How far were sexes segregated in

'

'

as reconstituted

349

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

'

Fresco showing boys playing pavement game.


XX

'

; ;;

CONTENTS
PAGE

85.

East Treasury (later, Archives) and Derivative Relics Fish with Alphabetiform Signs
Windowkss chambers
for Stores

Bone
397
'

kalderim pavement below with contemporary door-jambs Clay and plaster floors (M. ^f. HI) of Extension of deposit later store-room Relics fallen from Treasure Chamber above M. M. HI b Parallel stratification under Stairs under Stairs 'The Ivory Deposit Eragments of Miniature Fresco pedestalled Vases at top their Egyptian pedigree found with Ivory Deposit relating to Bull Sports Upper Treasury Chainber later used for Archives sealings and tablets of Linear Class B; Relics from 'Treasury' also found in 'Room of Stone Bench'; Eai'ence plaques as from 'Temple ReposiPendant in Rock-crystal bowl tories Parts of Ivory Casket and Wooden Chest form of gold heart similar amulets; Gold fish Scariis Cre/ensis The lion jewel Deposit in Drain Shaft; Bone fish with alphabetiform signs Simple geometrical Accompanied by varying numbers Inlayers' signary character of such signs Segments of bracelets with similar marks and numbers Were both classes of objects used for game ?

nnd Treasure

'

The

Lair

Early

'

'

'

'

'

'

'

86.

Further Relics derived from East Treasury: Sphinxes, MiNOAN AND HiTTITE, AND LEAPINC YOUTHS OF IVORY DEPOSIT
Gold-plated bronze attachments perhaps from Icon's mane; Miniature Double Axes bronze, gold-plated from small shrine Plumed crest and part of wing of Ivory Sphinx Comparison with naturalistic ivory wing of small bird The Minoan Sphinx Minoan Oedipus at grips with it on 'i'hisbe bead-seal Name of Sphinx Hellenic, Art form Minoan Wingless Sphinx of M. M. II Signet Hathoric curls of Hittite derivation distinct from Egyptian type; Steatite locks of Sphinx's head from drain-shaft deposit Oriental comparisons Hathoric elements H. Triada Sphinx of Hittite type supplies key to restoration of Knossian head 'I'wisted locks H. Triada figure compared with Chaldaean inkstands Minoan ink-written inscripImmediate source of H. Triada Sphinx Hittite An imported object Parallel tions example recently found at Tylissos Minoan female figurine of steatite found with Sphinx at Tylissos peaked cap a novel feature The Deposit of Ivories' Eigures of acrobatic youths The Leaping Youth marvellous e'/an Chryselephantine Art Curled flying locks of bronze, gold-plated Part of larger arm Figures engaged in Sports of Bull-ring these under di\ine patronage F'ai'ence head of bull A miniature Minoan Corrida perhaps exhibited in Sanctuary.

413

'

87.

Chryselephantine F^igurinks of 'Boston Goddess' and Boy-God connected ^vith l\0\<\ deposit: tlie mother goddess and Child
.

...
;

4-^6

The

acrobatic ivor)' figures connected with bull-ring Religious elements of Treasury Deposit miniature bronze Double Axes and part of shrine on fresco the Sphinxes A\ere there also images of divinities ? Facilities here for abstraction Boston

'

'

Goddess parallel to Knossian Snake Goddess Knossos its probable source Locks secured as in aciobatic i\ories Physiognomy individual and modern Emergence of ivory boy-God, in the same style and probably from same Knossian source Eragments of steatite cup with male heads in relief; Ivory figurine of boy-God, as found Bell already fitted to child's body ^'ery young infants beltless Palaikastro examples; Rivet holes in ivory figurine for gold-plated belt and kilt Girdles on young girls Proportions of boy-God Comparative girth of adult male figure Adaptation of human form to early waist constriction Looser belts worn by elderly men Tight waists begin with M. M. Ill Boy-God on tiptoes and adorant Delicate execution of toes; Foot of M. J\L 11(7 figurine; Waving hair and features of boyGod recall Boston ( loddess ; Correspondence in height Same group Mother and adoring Child; Matriarchal stamp of Minoan Religion; Same Goddess with
:

'

'

; ' ;

CONTENTS
various

xxi
PAGE

Youthful male adorants fine bronze example Adorants on signets Armed youthful male figure grouped with Goddess Adult warrior God exceptional till latest Minoan epoch figures of Resheph Mourning scene for youthful warrior God on Minoan signet Minoan Goddess, resurgent as Gaia Unarmed boy-God Oriental parallels Minoan versions of Mother and Child Terracotta idol from Knossian tomb Adoration scene on Thisb signet Goddess with child on lap, holding cymbals Adorant warriors bearing gifts Reeds borne, as in honour of Cybele ; Metal vessels as offerings Adoration of Magi compared Christian version on ring-stone Thammuz at Bethlehem.
attributes
;
;

Supplement to Section 87.

God Resheph
88.

Late Minoan and Mycenaean images of the Syrian Lightningwith Syrian and Hittite comparisons
. .
. .

.477
481

Great 'East Hall' resuscitated

Main approach
to lower halls of
;

i\\& piano nobile

Somewhat
; ;

lesser

Domestic Quarter from above its ground floor height of upper stories the fourth landing, below
'
'
:

Court Flight of Stairs thence to roof terrace Architectural analogies with West side of Court Evidences of great East Hall Correspondence with ground-plan of earlier 'East Hall' basements; These choked by Earthquake and subsequently filled in; M. M. \\\a relics of earlier Hall including 'Ladies in Blue' fresco; Earlier East Hall narrower with lateral light- area Break between M. M. HI plan and M. M. structures; Important relics found in Loom Weight area ]\L M. Ylb Restored plan of later East Hall' Blocked doorway of fiUed-in Magazines Earlier Hall approached by descending steps New Hall and adjoining East fagade in harmony with later facade West of Court Stepped Porch balanced by Stepped Portico of new East Hall Striking correspondence ^n levels and espacement with structures West of Court Agreement between Steps of East Hall and those of Stepped Porch Position of Columns in Portico Lateral openings to landing Doorways of East Hall Central light-area of Hall evidenced by drainhead course of drain to blind well M. M. HI a conduit re-adapted for later Hall Evidence of use to L. M. Square central peristyle of later East Hall; Interior section, with side doors Parallelism with plan of Mainland Megaron but this Hall not isolated Painted plaster high reliefs precipitated from Walls ; Fragments thrown down at time of final Catastrophe; High reliefs, executed in the great Transitional Age, preserved on Walls to the last.
level of Central
;
'

'

'

'

'

'

'

'

'

'

'

',

89.

The Painted High Reliefs from East Hall; and Bronze

Locks of Hair from Gigantesque Female Image
. .
.

497

Agonistic and acrobatic character of High Reliefs Fragment from group of two wrestlers Sir W. Richmond's technical appreciation Boxing bouts and hand-tohand encounters in Minoan Art ; Upper arm attributed to fallen pugilist Comparison with small relief of H. Triada rhyton ; Forearm of boxer; Forearm of Taureador, with clenched fist Sir W. Richmond on this ; Hand with careful rendering of veins ; Leg seen from back, perhaps of pugilist; Calf in profile and ankle ring ; Female breasts probably of Taureador ; Fragments of frieze with opposed Griffins tethered to Columns; Palm Columns; Cornice with triple gradation beneath Griffin Frieze ; Opposed Griffins compared with signet-type Column here baetylic form of divinity; Oriental origin of such 'antithetic' schemes; Frequency of opposed animal types in Late Minoan Art ; High reliefs probably on walls of back Section of Hall Double tiers of reliefs GriflSn Friezes along side walls in narrower porticoes High reliefs evolved from lower ; Gypsum reliefs at Mycenae by Minoan hand ; Concurrent progress of works in the round Hand of stone figure, half natural size ; Life-sized female head in painted stucco, from Mycenae Influence of wood carving visible in head ; Discovery of large bronze locks of hair in carbonized deposit by N. wall of East Hall Belong to wooden figure of gigantic proportions ; Female sex indicated ; The Xoana of Daedalos ; A gigantesque cult image of Minoan Goddess Probable place, in back Section of Hall.

'

'

'

'

xxii

CONTENTS
ARCHITECTURAL PLANS AND SECTIONS
PAGE

Fig. Fig.

Fig.
Fig.

Fig. Fig.
Fig.

Fig. Fig.
Fig. Fig.

Fig. Fig.
Fig.

Fig.

Fig
Fig.

Fig.
Fig.

Restored Plan showing Upper Floor of Sanctuary Quarter, West of Central Court Early Keep N.\\'. Portico I B. Plan of Part of North Palace Section showing Area of Facing and Entrance Passage and Northern Entrance System Initiatory Area' and Lustral Basin 2. Revised Plan of 3. Plan of Northern Lustral Basin 5. Plan of Later Doorway in Corridor South of Lustral Basin 7. Horizontal Section showing Primitive Lock; South House 8. Isometrical Sketch of Jamb of Gypsum Doorway, South House, showing Sockets for Bar and Bore-holes for Locking-pin Insula', showing Position ol Principal Finds 9. Part of Xorth-West 12. Diagrammatic Section of East Part of Room of Knobbed Pithos', &c. Facing 106. Restored Upper Plan and Elevations of Northern Entrance System 108. Sections across Pillar Hall (b. b.) and Upper Passage with Porticoes (c. c.) 114. Elevation of West Side of North Entrance Passage showing Earlier and Later Facing Levels of Roadway 166. Isometric Projection of East Bastion and Postern 168. Plan of East Bastion and Postern (a) Plan, enlarged to six inches wide, and (/>) section at A of Staircase ol 169, a, h. East Bastion 169, c. Section B-B of Staircase of East Bastion Theatral Area', showing Strati172. Section under loth Step of Eastern Flight, graphic Horizon of Parabolic Channel beside Stone Platform 173. Sections of Terra-cotta Water-pipes, below 'Corridor of Draught Board' 178. Section of 'Tholos' Tomb of Sumerian Queen and ^\'ell-like Shaft consisting of
I

A.

3
7

'

...
.

'

',

1
12

...

'3

i4
19

'

'

24
161

.....
to receive Libations
. .

... ....
.

164
171

237 239

240
241

'

Terra-cotta
Fig. 183.

Drums

Plan of Region including 'East Coiridor', 'Court of Stone Spout', and 'East Facing Portico' Fig. 213. Holes for Bolts and Scorings on Thresholds marking Swing of Doors Fig. 218. Revised Plan showing Central and Eastern Sections of Hall of the Double Facing Axes and Adjoining Area Fig. 223. Elevation, Plan, and Section of Lime Plaster Mass showing Impress of ^Voode^
.

.....
' .
'

...
.

249 253 260

'

Throne and Canopy

.

Fig 232. Plan showing Part of the Later Akropolis (L. .M. Ill) at Tiryns with Propyla and Palace Halls Fig. 233. Plan of Entrance to Privale Staircase from 'Queen's Megaron showing Later Pier inserted for Support of Upper Structures Fig. 244. Plan, Section, and Elevation of Central Pillared Stylobate of (Queen's Megaron
.

....... ....... ... .......

.
.

270 320 328 336

352

above the Floor-level

Fig. 245.

.....
'

...
'

....
'
' . .

...
.

353
367

'

Section of Central Pillared St)'lobate of Queen's Megaron Seats covered with Plaster as restored and Underlying System
'

Fig. 249. Plan of (Jueen's Megaron' and Connected Structures Fig. 253. Plan and Elevation of Bath-room Fig. 259. Elevation of Corridor Wall showing Spiral Frieze Fig. 264 A. Plan of Platform near South-west Corner of Central

...
. '
'

...
. .

showing \\'ooden
.

368 375 382 388

Court

at Mallia
.

showing

Fig. 266.

Fig.
Fig. Fig.

Fig.

Cupped Table with Bench behind Plan of First Floor of Domestic Quarter 338. Basement Plan beneath East Hall (revised) West of the Central Court 339. Section of Stepped Porch 340. Conjectural Plan of Great East Hall' as restored in M. M. Ill/341. Plan showing Course of Stone Conduit from Drain-head of Shaft to 'Court of Stone Spout'
position of
'
. '

',

'

394 400 487 490 491 493

...

'

CONTENTS

xxii

GENERAL PLANS
{In Pocket at

End

of

Vo/u>iie.)

D. Reconstructed Elevation of Grand Staircase. By Christian C. T. Doll. E. Plan of Domestic Quarter Ground Floor. By Christian C. T. Doll. F. Plan of Domestic Quarter First Floor. By Christian C. T. Doll. G. Constructional View of Hall of the Double Axes and Structures to the West of Upper Elements removed.
: :

'

'

it,

with

TABLES AND COMPARATIVE EXAMPLES OF SIGNS

AND SCRIPT
Fig. 267.

Comparative figure showing Egyptian Pedigree of M. M. Ill Pedestalled Vases Fig. 269. Alphabetiform Signs and NumBers on Bone 'Fish'
.

PAGE 402 406

LIST OF
PLATE

COLOURED PLATES
.
. . .

XV. Ceiling Pattern in Painted Stucco Relief Facing XVI. Panel of 'Miniature Fresco' restored, showing Central Pillar Shrine with Grand Stands on either Side and Crowds looking on at Sports Facing XVII. Miniature Frescoes of Seated Ladies on Grand Stand Facing XVIII. Miniature Fresco of the Sacred Grove and Dance Facing XIX. Bull-catching Scene painted on back of Crystal Plaque Facing XX. Inlaid Designs on Mycenae Dagger-blade Chitas and Caffre Cats hunting Ducks on Banks of the Nile Facing XX A. Design on the Ring of Nestor translated into a Painting of the Miniature
.

30
47 49 67 109

114
157
2

'

Class

XXI. Part of Fresco Panel Leaping Girl from Scene of Bull-ring Facing XXII. Fountain {/et d'Ean) from Painted Stucco Panel, House of Frescoes Facing XXIII. Middle Band of 'Shield Fresco' from Loggia of Grand Staircase Facing XXIV. Restored Interior View of Inner Section of Hall of Double Axes showing Suspended Shields. Doors and Windows to left opening on Western
: .

....
'
.

'

Facing

i6

254 306

'

'

XXV.
XXVI.

Section Fresco Fragment showing Boys playing Game.

.

Facing Fresco Fragment showing Upper Part of Dancing Girl Facing Restored View of Queen's Megaron with Doorway leading to East Section and Light-well beyond. To right, Window opening on Southern Light-

......
Upper Thalamos
' '
.

346 370

'

'

area

to

left,

Private Staircase to

Frontispiece

LIST OF
XXXI
[.

SUPPLEMENTARY PLATES
in plaster) with

Interior

View of Northern Lustral Basin, with Upper Part restored. Staircase Balustrade, looking towards North-West. Bands of Dark Wall-painting are
Speckled

shown above Gypsum Dado Slabs (here replaced

XXXIII.

Panels. (See p. 9.) Interior View of Northern Lustral Basin looking

down

First

Flight of Stairs to

XXXIV. XXXV.

West. (See p. 9.) View of East Bastion and Quadruple Line of Walls, from the North. (See p. 234.) a, Vertical Post (socketed in M. M. II Masonry) with Base tapering upwards. East Corridor. (See p. 65.) b. Plaster Mass showing Impress of Fluted Columns, East Slope. (See p. 323.)

xxiv
PLATE

CONTENTS
Steatite

Locks of Sphinx of Hittite Type from Deposit in Stone Drain-shaft (See p. 420 seqq.) XXXVII. A. Plaited Locks of Sphinx in Steatite Mycenae. (See p. 422.) B. Ivory P'iyurines of Boys Palaikastro. (See p. 446.) XXXVIII. Head, Forearms, and Legs of Figurines from Deposit of Ivories '. (See p. 428 seqq.) XXXIX. Bron/e Votive Figures of .\dorants. (See p. 459 seqq. and p. 461-) XL. Painted Stucco Relief of Lower Part of Man's Leg. (See p. 508.) Upper XLI. Painted Stucco Reliefs: a, Man's Hand, and i!',"section (see p. 506); Part of Griffin's Hind Leg. (See p. 508 seqq.) XLII. Restored Handle of Dagger-blade from Mycenae (with Inlaid Design of Lion-hunt).
:
:

XXXVI.

'

<,

(See p. 119.)

North-West Insula' North of Central Court, with Ramp 68. Passage from N.W. Portico and Lustral Area: Basement Chambers ABOVE Early Keep.
'

its artistic revelations ; Functional importance supplements that of Western borders of Central Court ; Area West of Central Court chief Cult Centre retrospective view ; Stepped Porch built over
' '

North- West Insula

'

',

Room of the ; Block North of Porch, of L. ]\f. II date : Includes N.E. Corner of oldfa(;ade and of Early Western' Insula'; NorthWestern Insula 'formed by Early Keep ; Elements of fortification in Early Palace; Ramp passage round Keep from N.W. Entrance; Initiatory Area' and Votaries entrance ; North- West Lustral Basin of M. RL III a date ; Restored plan and elevation of'Ltistral Basin and Superstructures ; Isolation of Sunken Area from other buildings ; Minoan bronze 'key found in doorway of later passage; 'North-West Entrance' partially blocked; Basement steps down; ^nt Chamber; ERRATA
earlier Cists
'

Throne'

;
'

'

'

'

'

'

'

'

Page 473, hne .!,/..< wreaths

,.

icnt ;
'

Central
spiral
tablets

read

'

reeds

'.

,^,, ,y- ^^,.^^._

'^ ^^'^^^
'>s

Page 525, lines 28, 29. Parentheses should replace the commas before the word ' including and after the word below '.
'
'

and

Plan

G in

pocket.

The Well

in

bottom left-hand corner of

^"^^ Central
this
'

Plan should be omitted.

supplied by

pavement (M. M. Ill b) ; Extension of M. M. III\> floor, its continuous use in restored Palace; Miniature Frescoes' and Spiral Ceiling fallen on this level; Stone
ter
'

lamps, and basins for rittial sprinkling.

The
Court,

Palace region to which we are

fittingly

now
'

led, to

the North of the Central The

Its

may be

described as the

North- West Insula'.

Eastern

insula'

and Western boundaries are indeed well defined, on the one side by the North Entrance Passage on the other by a ramp passage winding up from the North- West Portico round the massive outer walling of the Early Keep which forms the nucleus of the insula' (see Plan, Fig. 1 b, facing p. 7). As regards its upper structures this region had suffered much dilapidation, but it proved to be of the first importance in the revelations that it has afforded of
'

',

'

',

'

certain classes of artistic work.

Here was brought

HI.

to light the 'Saffron-Gatherer' fresco, the earliest

figured painting of which

any record has been

B

left at

Knossos.

Here, too,

XXIV
PLATE

CONTENTS
Steatite

XXXVI.

Locks of Sphinx of Hittite Type from Deposit

:

in

Stone Drain-shaft

(See p. 420 seqq.) XXXVII. A. Plaited Locks of Sphinx in Steatite Mycenae. (See p. 422.) Palaikastro. (Sse p. 446.) B. Ivory Figurines of Boys (See p. 42S seqq.) XXXVIII. Head, Forearms, and Legs of Figurines from Deposit of Ivories XXXIX. Bronze Votive Figures of Adorants. (See p. 459 seqq. and p. 461.) XL. Painted Stucco Relief of Lower Part of Man's Leg. (See p. 508.) Upper XLI. Painted Stucco Reliefs: a, Man's Hand, and l>, section (see p. 506); (See p. 508 seqq.) Part of Griffin's Hind Leg. XLII. Restored Handle of Dagger-blade from Mycenae (with Inlaid Design of Lion-hunt).
:

'

'

<-,

(See p. 119.)

North-West Insula' North of Central Court, with Ramp Passage from N.W. Portico and Lustral Area: Basement Chambers ABOVE Early Keep.
68.
'

North- West Insula its artistic revelations ; Functional importance supplements that of Western borders of Central Court ; Area West of Central Court chief Cult Centre retrospective view ; Stepped Porch built over
' '

'

',

earlier Cists

Block North of Porch, of L. M. II date : Includes Room of the Throne' ; N.E. Corner of old facade and of Early Western^ Insula' ; NorthWestern Insula 'formed by Early Keep ; Elements of fortification in Early
;
' ' '

'

Palace;

Entrance; Initiatory Area' and Votaries entrance ; North- West Lustral Basin' of M.M. Ill 2. date : Restored plan and elevation of Lttstral Basin and Superstructures ; Isolation of Sunken Area from other buildings ; Minoan bronze 'key found in door' ' '

Ramp passage round Keep from

N.W
'

'

way of

later passage ;

'

North-JVest Entrance' partially blocked; Basement

Chambers above 'Early Keep\- Plinth bordering Court, and steps down; iM. //a paved floor over Walled Pits, belonging to large basement Chamber ; Later dividing wall M.M. II h; Gypsum steps re-usedfor pavement ; Central Pillar of Western Basement in M. M. II b / Exceptional evidences of stratification in Room of Knobbed Pithos' ; Large black steatite vessel with spiral reliefs ; Saffron-Gatherer Fresco ; Later floors loiih stone lamps and tablets Class B ; L. M. Ill z. floors above these ; Basements bordering Central of Court ; Rearrangement of supporting pier ; Further evidence supplied by Room of Knobbed Pithos ; M. M. Ill a pottery below later pavement {M. M. Illh) : Extension of M. M. Ill h floor, its continuous use in restored Palace; 'Miniature Frescoes' and Spiral Ceiling fallen on this level; Stone

M.

'

'

'

'

'

lamps,

and

basins for ritual sprinkling.

The Palace region to which we are now led, to the North of the Central Court, may be fittingly described as the North-West Insula'. Its Eastern
'

The
insula'.

and Western boundaries are indeed well defined, on the one side by the North Entrance Passage on the other by a ramp passage winding up from the North- West Portico round the massive outer walling of the Early Keep which forms the nucleus of the insula' (see Plan, Fig. 1 b, facing p. 7). As regards its upper structures this region had suffered much dilapidation, but it proved to be of the first importance in the revelations that it has afforded of
'

',

'

',

'

certain classes of artistic work.

Here was brought

III.

to light the 'Saffron-Gatherer' fresco, the earliest

figured painting of which

any record has been

B

left at

Knossos.

Here, too,

' '

ARTISTIC TREASURES OF N.W. INSULA

Its artistic

derived from a corner sanctuary, lay the fallen remains of the

frescoes, illustrating

'

Miniature

revelations.

development of pictorial design in the transitional Age that heralds the New Era On the Northern borders of this area, beneath and ijear a later threshing-floor, great heaps of pieces of painted plaster were uncovered, some of them like those depicting parts of an embroidered robe On the other hand, by exceptional interest. of the bastions of the adjoining Corridor East, precipitated from the back wall there of the portico above overlooking the North Entrance Passage occurred a series of fragments of painted stucco reliefs belonging to an
an astonishingly
lively
'

'.

'

',

extensive frieze representing bull-catching scenes and, included

the noble head of

among them,
Various

what

to the

Minoans was the King of Beasts.

comparisons, as will be shown below, enable us to recover the general

Together with a companion frieze on the opposite side of the Entrance Passage, it seems in a special way to have impressed the imagination both of contemporary and later beholders, and a reminiscence of its designs is traceable on the Vapheio Cups as well as in two sculptured plaques brought by Lord Elgin from the Tomb of Agamemnon The functional importance of this Insula was also great, owing to the Functional imfact that what is ex hypothesi a pilgrims' entrance from the Initiatory Area portance of N.W. beyond, with its lustral basin led here, as already mentioned, by a winding Insula ramp and passage way to the N.W. Corner of the Central Court and thus That this sanctuary character to the sanctuary region on its Western side. was shared by a large part of this North-West Insula bordering the Court on the North appears from the data supplied by a series of finds made within it. This region in fact takes up and illustrates on its own lines the relio-ious functions fulfilled in a pre-eminent degree by that West of the Court. These have received detailed consideration in the concluding Sections of the precharacter of this composition.
'

'.

'

'

'

'

'

',

'-

'

'

be well to recall here the salient features of the sanctuary quarter on that side to which the ramp passao-e
it

ceding

Volume

of this work, but

may

primarily led.

Retrospective
Area

View

of Sanctuary

Area W. of Court.

West
Court

of
:

Central
chief cult centre
:

The Palace region between the Upper Long Corridor and the Northern section of the fa9ade bordering the Central Court, as shown in the restored plan (Fig. 1 a), includes within it a group of structures that sufficiently
mark
it

as the true cult centre of the restored building.

retro-

spective view.

Its

tive of a splendid architectural suite,

the

'

Tri-Columnar Hall which forms the principal objecbeginning with the West Porch and Corridor of the Procession and directly approached by the South
nucleus
is

the

'

'

'

'

'

'

CENTRAL

COURT

Fig.

1 A. Restored Plan showing Upper Floor of Sanctuary Quarter, West of Central Court. (Reproduced from Plan C at the end of Vol. II, Part 2.)

'

4
Retro-

SANCTUARY AREA
'

W.

OF CENTRAL COURT

SanctuLy ^ye^ t
West.

and its stepped continuation above, through a Central Lobby. At the South-East angle of this Hall opens, as described above, a small chamber which, as its contents show, including the finely carved rhytons in the shape of lions' and lionesses' heads served as the Treasury of a Sanctuary. Two of the columns of the Hall were in fact supported by the in view of the vats for stone pillars of corresponding crypts below, to which

Propylaeum

'

the blood of victims, the double axes repeated on the pillars themselves, and the numerous analogies
assigned.
its

now

available

sacral character

must

certainly be

These dark

vaults, dedicated to the cult of the sacred

weapon and

associated divinity, led in turn on the Court side to a small columnar

shrine of the

Minoan

kind, in the

deposit of clay seal-impressions depicting the

North wing of which was found a whole Minoan Rhea' herself on her
'

lion-guarded peak.
'Stepped
built over

The

adjoining

'Temple Repositories' of

the preceding

Palace sane-

tuary, the date of

'

earlier
cists.

which goes back within the borders of the earlier phase ia) ]yf y[ jjj -^^^ heen paved over by the restored basement floors. At the ' ^ same time, too, the contemporary system of cists contammg similar ceramic remains that ran North from the Eastern Repository had been covered over

.....

by the newly constructed

Stepped Porch which gave access from the Court to the Central Staircase of this wing of the building. The steps of this Porch also form a break in the double fa9ade that runs South along
' '

the whole border of this Section of the Central Court.^

Intrusive
biock""^^

The inner fagade belonging to the earlier Palace and consisting of gypsum orthostats on a limestone plinth can still be traced beneath the steps
of the Porch.
.

N-of
Porch.

Beyond
.

this point,
.

however, both

it

as well as the

series of

M. M.

Ill Cists,

and indeed the whole

in fact bears

palatial

Northern unit to which the

Central Staircase belongs, are entirel)' broken off by an intrusive block of

somewhat
Including

later date

and which

every evidence of dating from

the latest Palace period (L.

M. H).
this

The
'^'^^

principal

chambers of

block are the

'Room

of the Throne'

Throne"

'^^

Ante-room, but, as the decoration and contents of these connect

it

themselves with the closing phase of the building,

to reserve a description of

has been thought better

them

to a later Section. ^

Here

it

need only be
a strong
'

observed that this conglomeration of Chambers, following on to the earlier

remains of the sanctuary quarter of the Palace, presents
religious character, as
is

itself

clearly
it

shown by the

lustral area

and small

Con-

sistory

'

hall

round which
'

centres.
Pt. 11, p.

See F. of M.,

ii,

'^

In the concludinEf volunne of

798 seqq., and Fig. 525, this work.

p.

803.

N.E.

CORNER OF FAgADE
this intrusive

terminus a guo for the dating of

block of buildings was

to this

L.

M.

li

supplied by the remains of pottery found under the second and third thres-

'[^l^^^
^hres-

holds (from the South) of the doorways leading

down
'

from the borders of the Central Court, which m fragments contained others of the best Palace Style belonging to the early These doorways preserved the line of the outer fa9ade part of L. M. 11.^ and abutted on the slabs of the same limestone pavement that occurred elsewhere on this side of the Central Court. This pavement, of which the best preserved remains lay, as already noticed,^ in the North-West angle of the Court, was itself clearly contemporary with the earliest elements of the In this angle, as has been shown, it had displaced an restored building. earlier M. M. Ill pavement immediately superposed on a well-marked
'

Ante-chamber addition to some L. M. I

ante'^'"'

stratum the latest elements of which belonged to M. M.

II

and which

itself

immediately overlay the Neolithic

another

proof of the levelling away of

the intermediate strata on this part of the

hill in order to layout the Central Court and the adjoining regions of the Minoan Palace.^ In this stratum, in a M. M. \l b medium, was found the lower part of the diorite Middle Empire

statuette of User.*

depths varying from 50 to 70 centimetres, there came to light two small stone drains which converged on a common channel running East to a larger stone-built tributary of the main Cloaca of the
In the
layer, at
'

same

Cistern
drains.

'

Central Court (see Fig.

9).

The more Southern

off

'"

of the two small conduits,

running from the South- West, had been cut

chamber of the

'

Room

of the

Throne

'.

by the front line of the AnteThe more Northern proceeded

In it from a cistern bordering the North-West corner of the earlier fagade. The cistern for occurred M. M. lib pottery including a polychrome cup. which it provided an overflow channel had been, no doubt, filled by rain-

water from the roof-terraces of the earlier fa9ade line. On the Northern border of the Ante-room of the
this point >

'

Room of the Throne

'

N-Eof

to which the later frontage line here belonged, the older line
_ .

blocked up to by these intrusive structures of the concludingf Palace period ' reappears for a short distance. Its plinth and orthostats, however, almost at once curve Westwards forming a rounded outline which, as already observed, corresponds with what seems to have been a similar feature at the diagonally

or

oi"

facade

and early
'insula'.

^ ' ^

19 1 3 tests 59, 60.

F. of M.,
Ibid.,

ii,

Pt. II, p. 800, Fig. 522.

p. 5.

was better preserved, was 30 cm. deep and 12 cm. wide. The upper border ofits sideslabs was 50 cm. beneath the other drain 70 cm.
surface, that of the

See P. of M., ii, Pt. I, i, p. 286 seqq.

The more Southern

of these drains, which

'

N.W.

INSULA FORMED BY EARLY KEEP

'

opposed South- West Corner of an extensive

original form.'

insula

'

of the Palace in

its

North- Western
N.W.
formed by 'Early

'

Insula

'

formed by

'

Early Keep

'.

The Corridor that follows the Western turn of this old angle of the fa9ade named from a stone basin found within it separated the large West Insula' in question from another very characteristic structural island

'

also dating in

its

inception from the earliest or the

'

'

proto-palatial

'

stage of the

building.

This

is

North- West Insula' already mentioned as that with

'

which we are in this place principally concerned. Its area, as we have seen, was originally composed of the Early Keep Avhich dominated the Northern approach to the Palace and at the same time the North-West Section of the
',

Central Court.^

This building, with

recalls the

its

massive walls and deep dungeon-like, walled

difficult

pits,

donjon of a

of the building

Norman Castle. However may from the first have been, it is

It

comparatively open most

not to recognize

in this tower-like structure,

guarding the Sea-Gate of the Palace, a real strong-

hold for

its

early princes.

may be

added, indeed, that the same

fortifica-

tory intention attaches to the adjoining Northern Entrance system and in

a high degree to the mighty walls that run East of

it

in parallel lines, the

more so

as in the upper part of this area there

was no such need as on

the Eastern slope beyond of massive terrace walling.

The

blocks

may

well

compare with those of the

Elements
fication in

citadels of Tiryns or

Mycenae.

It is cities

true that the generally open character of this and other Cretan

under the
_

Pax Minoica
'

of later days points to the neglect of such

_

^^'^'y

Palace.

But we are already warned bv the massive enceinte walls ' on the sacred height of Juktas, going back to the very beginning of the Middle Minoan Age,^ that the need of fortification was still recognized in Crete at the epoch answering to the proto-palatial
defensive works.
of the
'

City of Refuge

'

stage at Knossos.
In the Cyclades,* at Phylakopi in Melos, at Chalandriane in Syros, at

strongholds going back

and elsewhere we have evidences of similar walled some cases at least to the last Early Cycladic Period, contemporary with E. M. III. The faience mosaic, moreover, in any case not later in date than the beginning of M. M. Ill, has given us a
St.

Andreas

in .Siphnos,

in

See P. of M.,
Vol.
i,

ii,

Pt.

II,

p.

66i,
ii,

and
799,

a white line in the General Plan

at the

end

cf.

p. 130, Fig.

96 (also Vol.

p.

of Vol.
=

ii.

Fig. 521).
"*

For the

'

Early

Keep

'

see Vol.

i,

pp. 136-

See F. of M., i, pp. 156, 157. See especially D. Mackenzie, Phylakopi,

and

Figs. 100, 101.

Itsareais indicated by

pp. 255-S.

HORN OF CONSECRATION
Fig.
1 B.

Plan of Part of North Palace Section showing Area of Early Keep N.W. Portico and Entrance Passage and Northern Entrance System.
'

',

RAMP PASSAGE FROM PORTICO AND LUSTRAL AREA

glimpse of a fenced city, perhaps the port town of Knossos, with outer towers and houses on the wall, in addition to its street fa9ades. If, moreover, during the later epoch, unified dominion and immunity from foreign
attack led to the comparative disuse of such precautions in Crete
is itself,

there

suppose that walled defences were neglected in the more outlying districts of the Minoan World. Certain traditions, indeed, of this older system of fortification clung to both the palatial and the civic architecture of Crete down to Late Minoan times. The system of successive returns in the
to

no reason

wall line

survival of projecting bastions such as

like

we

see

them

in early

Anatolian

sites

Sendjirli

so

characteristic

of the

West

fa9ade at
in the

Knossos, recurs at Phaestos, Hagia Triada, and Gournia, and again

early Palace of Mallia.^

Ramp

Passage from N.W. Portico and Lustral Area.

'

It is clear that the Early Keep' must have blocked the direct access Ramp from the North-West Portico to the Central Court. The course of what fi-om^^^ was probably an open ramp may be traced, however, stepping up past its ^^

N.W.

angle and thus abutting on a passage-way leading directly to the

'Corridor of the Stone Basin' referred to above and so to the adjoining

angle of the Central Court.^

The access to this passage-way from below was through the double gateway opening on the North-West Portico From the inner vestibule, bordering this entrance on its Southern side, there opens West an elongated space that must always have been uncovered, of the same width as the entrance of about two and a half metres, representing the first section of the original ramp and somewhat overlapping the Northern substructures of
'

'.

the

'

Keep '.^

The ramp,

after

running a

little

over four metres West, turned

at right angles South,

ascending

still till it

reached a level answering to the

Up to this point we must suppose it to have been open, but the passage now passed under cover, debouching by a doorway into the Corridor of the Stone Basin above mentioned and thus
original level of the Central Court.
' '

gaining access to the North-West corner of the Central Court.

'

'

See P. of M., ii, Pt. I, p. 270. See Plan A at end ofVol. ii, and

sections of the ramp, the

cf.

pavement had not

Vol.

i,

been preserved, though there are some traces

of the points where
it

pp. 422, 423.

^

stepped up.

The

inter-

fine limestone corner

block of the North

'
'

space that

it

occupied was to a large extent

wallof the passage-way marked with the spray

sign

excavated to a considerable depth in 1913 in

tracing the substructures of the Keep.

was brought out

in 1928.

Of

the lower

'

INITIATORY AREA AND

'

N.

LUSTRAL BASIN

Palatial Function of
Initia-

'

Initiatory

Area

'

and the N. Lustral Basin.

passage-way
fulfilled

It

has been already pointed out that this

^^
an'^d

special function in bringing this part of the building

twining="

Votaries entrance.
"

more than

one shrine

itself, it

appears, con-

into direct connexion with

the entrance

Fig.

2.

Revised Plan of

'

Initiatory Area

'

and Lustral Basin.

TheN.
Lustral

system that bordered the N.W. Portico itself essentially sacral in character. This entrance system indeed forming as a whole the North- West Bailey seems to have been specially designed to suit the religious requirements of pilgrims or votaries entering the Palace-Sanctuary from that side.

'

Basin

M. M.

Ula
date.

centres in the remarkable early example of a Lustral Basin, free-standing in a separate Court, described as the Initiatory Area and approached by a kind of Entrance Court, recalling the Fore-hall of the Room of the Throne which contained a similar sunken basin on a smaller scale. Within the Initiatory Area', in a contemporary stratum that covered its North-West corner, there came to lio-ht
in
it
'

As shown

the revised Plan, Fig. 2/

',

'

',

'

a series of remains of vessels such as decorative stone ewers

'

and

inlaid

The

original plan
p.

{F.

of A/.,

i,

p.

405

with observations

made

in

the course of the

seqq.,

and

406, Fig. 291) has been slightly

work executed

in

1928 and 1929.

modified by Mr. Piet de Jong, in accordance

RESTORATION OF

N.

LUSTRAL BASIN
initial

9
Ill

bowls of types now known to belong to the exactly answering to similar remains found
deposit,

phase,

of

M. M.

in the basin itself.

In the

and same

have belonged to some kind of Sacristy or Treasury in that part of the Area, was found the inscribed lid of an alabastron bearing the name and titles of the Hyksos King Khyan.^ It is clear that both the stone vessels found in this deposit and those derived from the sunken basin had a sacral character and certain thickwhich seems
to

walled vessels of greyish clay found on or near

basins,

its floor,

as in other similar

unguents used for the anointing. The evidence of the use of holy-water sprinklers ',^ resembling the aspergilla of the Roman Pontifices and still in use in the early Christian Church, makes

had served

for the oil or

'

probable that some sprinkling of this kind was also included among the lustral rites performed in these sunken basins. For this they were quite
it

adapted, though they could not well have been used for holding water. In this connexion the recurrence of solid stone basins of various
materials, resembling fonts, to be described later

on

in this

Section

may be

thought to have a special significance.

Restoration of Northern
In order permanently to
interior of the
'

Lustral Basin

'.

preserve
*

the fine
I

gypsum

material of the Restored

elevation
'^^^"^^^

Northern Lustral Basin

its

decided, as a part of the cam-

paign of conservation, to replace

its

roof and the supporting columns above ^

This work, begun in 1928 and concluded in 1929, was entrusted to Mr. Pietde Jong (see Figs. 3 and 4 and Suppl. PI. XXXII). From fallen remains of the painted stucco it has even been possible to restore its general effect on the walls, including the somewhat sombre blue field.s above and, below, black panels speckled with white, in imitation of stonework. ^ This sombre colouring was in keeping with the chthonic cult within. This little structure now a jewel of the site was bordered by open spaces on its Western and Northern sides, on which it was probably lighted, as indicated in the restored plan, by small upper windows. The researches of 1929 showed that the N.E. corner of the building abutted on a small portico, the substructure of the central column of which was brouo;ht out. This faced the Initiatory Area and was entered by the N. doorway of the Entrance Court (see Plan, Fig. 2). A stone bench probably occupied the recess behind.
balustrade.

^ ' '

Ibid.,

i,

p.

419 seqq., and

ii,

Figs.

304

a, b.

of the basin and staircase at the time of

its

See

ibid.,

Ft. II, pp. 792-5.

excavation see P. of M.,

'

i,

p.

407, Fig. 292.

i,

See below, pp. 25, 26 and Fig. 13. For Mr. Theodore Fyfe's admirable sketch

Compare

the

M. M.

Ill a fresco, ibid.,

p.

446, Fig. 321.

lO In
its

NORTHERN LUSTRAL BASIN

construction this Northern Lustral Basin most nearly recalls that
it

of the Little Palace/ though

was over twice the depth of the other and was

Here, too,
in this

approached by

sixteen descending steps instead of six.

Fig.

3.

Plan of Northern Lustral Basin.

Isolation

of basin

from
other
struc-

tures.

it was flanked by a narrow passage receiving its light from between the columns of the parapet. Careful supplementary excavations carried out in 192S all round the building entirely corroborated the conclusion, embodied in the plan, Fig. 3, that the basin was isolated on all sides. To the North and West it was cut off from any other structure and on the other two sides it was bounded by Corridors. A trench round its outer walls showed that, unlike ordinary

case on two sides,

P. of

M.,

i,

p.

405 seqq.

Fig.

4.

Restored View of Northern Lustral Basin showing Upper Structures By Piet de Jong.

looking West.

'

12

PRIMITIVE KEY

FOUND

IN

DOORWAY

basements, they had no connexion with any other walls, the stones being This direct contact simply built up against cuttings in the virgin soil.
with

Mother

Earth

and

the

descent

into

her

bosom beneath sombre vault above

with
the

the
fits

in

suggesthat

tion already

made

these
tory

sunken
basins

purifica-

connected
with
the

themselves

Goddess
the

in

her chthonic
as

character,

Lady

of

Underworld and wreathed with its emblematic snakes.

In this
stricken

earthquake
Fig.

Plan of Later Doorway in Corridor South of Lustral Basin.

region

it is

hardly neces-

sary again to recall the

special

need of divine protection from the infernal

Powers.^

A fiagello
litany,

terraemotus libera nos

before the days

may

well

have formed part of a Minoan

long

when

the prayer was taken over by the Christian Church.^

Fig. 6.

Bronze Locking-pin or Primitive Key from Doorway South of Lustral Area.

aliter placitwn.
It looks,

an earthquake shock about of which there seems to be other evidence on the the close of M. M. Ill a Palace site ^ played a leading part in the ruin of the Lustral Basin itself.
indeed, as
if

Dis

Minoan
'

key

found in

doorway
of later

passage.

was indeed so severe that in the succeeding was made to rebuild this structure. Its basin, choked with charcoal and rubble, was found overlaid by later walls traversing it from South to North. The principal of these, which ran out at a slightly higher level from the massive line of walling that bordered this area on the South side, was shown by the exploration of 1928 to have a doorway consisting of massive gypsum jambs with a threshold of the same material. Fig. 5, above which an interesting find occurred. In the rubble debris near the threshold was a kind of pointed bronze instrument. Fig. 6, in which we may
destruction over this area
restoration no attempt
'

The

Seei^. nf M.,
'

ii,

Pt.

I,

p. 322.
2.

Ibid.

Ibid., p.

320 and note

MINOAN LOCK
cellar

IN

SOUTH HOUSE

13

venture to recognize a primitive Minoan key^ of the kind used to lock the Minoan door of the South. House.^ Mr. Christian Doll's sketches of the door '"'^'^,'" South jamb and lock are here reproduced, which curiously anticipate the present House.
discovery (Figs.
7, 8).
is to be observed with regard to the locks here be seen from

An

interesting feature

illustrated.

As

will

the horizontal section, Fig.

7,

the

locking-pin that secured the wood-

en bar of the door could be

serted on either side of
it.

in-

The

bar

itself

could only

be with-

drawn on the inner side by some one in the basement room to which it gave access, but this could not be done unless the locking-pin was first removed
from the other
of the
the
'

side, at

the foot

CHRISTIAM C

T DOLL,

little

staircase leading
'

from
sysFig.
7.
:

Megaron and entrance

tem of the house. This arrangement is very characteristic of the

Lock

Horizontal Section showing Primitive South House. (See, too, Fig. 8, p. 14.)

carefully devised control system of the

Minoan dwellings large and small. to which the door led gave beyond into a smaller inner cellar or store-room where a hoard of bronze tools was found, the door of which was barred on the inner side while it was itself, apparently, accessible from an interior room above by means of a trap-door and ladder. The doorway of the later structure bordering the Lustral basin fitted on South to a wall-line underlying a line of massive blocks that had apparently been taken from the earlier Palace ruins to patch up its main boundary-wall on this North- West section at the time of the general restoration of the building towards the close of M. M. OI.^ The doorway itself

The basement room

Later ^^ver^^ Lustral

From

the position in which this object

it

the limestone blocks of this construction.

It

was found
a
stilus,

seems

less

probable that
to

it

was

was of somewhat
a good face,

as

was supposed

have been a

wedge-shaped form with showing two double-axe signs of

pointed bronze instrument from Palaikastro in

the Fitzwilliam
' '

Early Palace type (M.

as

M. I-H), and weighed

tons.
it,

Museum.
Figs. 217, 218.
it

nearly as

possible

Ibid., pp.

382-4 and
I

touched
a
part

element
of

2\ beneath
a

In

an unforty

among
and
the

To
its

determine the date when

was placed
one of

sherds, two were intrusive Neolithic,

one was
rest

in

present position,

decided, during the

M. M.

cup,

work of 1928,

to temporarily turn over

M. M.

Ill, including

one

characteristic piece

14

M.M.

Ill a

SIGNS ON BLOCKS BY N.W.

built

ENTRANCE

and the connected wall

over the choked-up basin must itself have bewhich, as longed to an intermediate date following on the local catastrophe, we have seen, took place when M. M. Ill was already stratified.^
^

But althouo-h other structures were erected basin, they had no relation

after the filling in of the

to

the

original

plan,

and

the

special

functional

character

of

this area as a place set

apart for the purification of those about to enter

the building through the

adjoining
Portico
N.W.
enirance
partially
'

North-West seems to have

'

055X04-5X

been given

up.

whole thixknc
area

'is

r
o

5oeket/br

Locking bar

035 ci&tfj

msx ozx

The
of

interior

the

building

was

'^''^.^ 41 JSoringfor
0+8
20
>
01

blocked.

entered from this Portico

by a double door-

way, the inner walling of

IsoMETRiCAL Sketch of Jamb of Gypsum DoorFig. 8. which consisted of some- way, South Housk, showing Sockets for Bar and Boreholes for Locking-pin. By Christian Doll. (See, too, what elonsfated lime- details in Fig.
7, p.

13.)

Incised
signs in

stone blocks incised

ternately with the
'

al-

M. M.
III.

double-axe

'

and the

'

spray

'

sign in the

same some-

what superficial manner as those of the neighbouring bastions of the Northern Entrance passage. This style of incision which contrasts with the bolder character of the signs on the interior, for instance, of the wherever its date can be approxiexisting West fa9ade of the Palace mately fixed seems to mark the considerable restoration that was carried

out some time after a great catastrophe that took place towards the close
of

M.M.

II;

in

other words

it

may be

described as

M.M.

III^?.

The

evidence that has been already adduced shows that the construction of the 'Northern Lustral Basin' itself and its connected s)'stem, including
the whole
'

Initiatory

Area

',

owed

its

laying out to the

same epoch,

at the

expense,

it

would appear, of some

earlier

arrangement.

With
of
its

the filling in of the Lustral Basin and the consequent diversion of

phase
(a),

earlier

and several charac-

'

As a matter of

fact sherds of ]\L

M.

Ill b

teristic

M.M.
no

Ill Z' fragments.

trace.

Of Late Minoan

type including parts of typical low cups were

there was

found beneath the threshold.

N.W.

ENTRANCE NARROWED
purposes the

IN M. M.

Ill b

15
Partial

this purificatory station to other

N.W.

entrance of the building

their

lost its

importance as a special route for votaries

and pilgrims on

way

to ofN.w^
J^'^H^'JJ
b.

the central sanctuary.

Accordingly, in the restored arrangement, following

(5,

on the great seismic catastrophe towards the close of M. M. Ill It of its double portal was blocked with materials taken from the ruins. initial section of the ramp passage was looks, moreover, as if the width of the reduced to the same extent. The subsequent formation of a lustral area in connexion with the Room
'^

one wing in

'

of the

Throne would have supplied the means of

'

religious lustration for

those entering the North-West

for the intermediate period

corner of the Central Court during the

concluding period of the Palace, but the evidence of a similar arrangement

been preserved.
the

It

ranging from M. M. Ill (2 to L. M. II has not must be remembered, however, that the laying out of
L.

Throne Room system, which dates from

it

M.

II,

had

entirely obliterated

the earlier plan of the area that

occupied.

on the borders may, however, connect itself with lustral functions, and it is worth noting that inside the adjoining fagade on the North side of the Court two alabaster fonts were found, similar to that illustrated in Fig. 13, below.
existence of the small cistern, dating from
II,

The

M. M.

of this area

'

'

The Basement Chambers above the 'Early Keep'.

Unfortunately, the upper structures situated behind the Northern part Area
of the fagade of the Central Court, in
its

earlier

and

later shape, that lay n.w.

section of border of Central

West
shift

of the Northern Entrance Passage, have suffered an exceptional ^ amount not only of ruin and denudation, but of disturbance through make,

arrangements due to later squatters. These structures were superposed on the much more mighty walls of the Early Keep ^ that occupied this area, and which must be included among the proto-palatial elements of the
' ' ' '

site,

the sherds derived from

its

inner interstices dating no later in fact than

E. M. III. The cells or walled pits of this, which seem to have been largely Basement coated with red-faced plaster, went down somewhat over seven metres (about abo^e'^^'^^ 25 feet) into the Neolithic, their major axis usually running E. to W., and 'Early though some of the thick cross-walls of this proto-palatial structure served new
' '

to

support later
as their

lines,

the early lines.

the general tendency of the later builders was to neglect Their foundations were sunk deep down, in some cases as
depth, into the earlier shafts and at right angles to their
tain to

tkln"'^"

much
'

full

In the course of supplementary researches

I raised

number

of sherds most of them belonging

undertaken in 1928

some

of the upper

the advanced stage of

M.M.

111(5.

No

blocks belonging to this miscellaneous blocking and found in the interstices below a cer-

L.
'^

M. fragments
See Vol.
i,

occurred,

p.

136 seqq. and Fig. 100, 101.


'

i6

NORTHERN BORDER OF CENTRAL COURT

general axis

from

North

to South, that

is,

instead of from East to West.

In exploring the lower part of the cells parts of these foundation piers
to
Plinth

had

ing Court

^^

be removed and the later wall-lines resupported by means The Northern boundary of the Central Court very nearly corresponds '^^^ Western section with the outer Southern line of the 'Early Keep'.
of arches.
.

and steps down.

Unlike the Western border of the Court, it shows no signs of a double fa9ade, but there are remains of a single boundary hne startmg from a pomt
answering to the abutment of the earlier Western fagade line of the Court, where the Corridor of the Stone Basin opens, and running originally East as far as the upper angle of the Northern Entrance Passage. (See Plan, Fig. 9.) From the N.W. corner of the paving of the Central Court in its later stage a plinth resembling that of the Western border of the Court runs East
' '

Basement
deeper.
^

shows an opening that stood in relation to a flight of three descending steps of gypsum a good deal worn ^ (see Fig. 9). These, as they were found, seem to have led down to a plaster floor about 43 centimetres below the limestone pavement of the Court. This floor, which is of great importance owing to the relics found on its surface, marks the basement levels on this side as they existed during the period that succeeded the great Restoration of the Palace towards the end of M. M. Ill 6 and continued to its close. Subsequent investigations brought out the remains of three more steps, ^1^'^ demonstrating that the flight had been originally designed for ^^ ^'^ a more deep-lying floor-level. The internal wall construction, however, shows that this flight had been first so centred as to extend a little West of the remaining borders of the uppermost steps on that side in the position in which they were found. The original width, so far as could be judged, was about 92 centimetres, answering to the width of an ordinary doorway. Beyond this point the plinth of the later fa9ade of the Central Court had been much destroyed, but another small flight of descending steps,^ that came to light about two metres East of the first, indicated that there had here been a similar opening of the same width.
for a distance of 4-75 metres.
this point
it
i'"^
'

At

Dr. Mackenzie notes that the second

and

These were not

like the others of

wedge-

third step

had been sHghtly cut away

at the

Western extremities
plinth itself in

in order to get the founda-

shaped form, and originally designed as steps. but mere elongated gypsum blocks, re-used,
only led

tion block of the plinth into position.

its

The
an
in-

existing shape was

They were evidently of later construction and down to the INI. M. Ill i floor-level
this floor-level the
'

tegral part of the restored Palace, dating

from

ex hypothesi belonging to the restored Palace,

the post-seismic
'

M. M.
p.

IIIi^ epoch.
first

On
four

bulk of the remains of

'

In the Plan,

19, Fig. 9, the

the

Spiral Ceiling

'

and

Miniature Frescoes

steps only are shown.

were found (see below,

p.

30 seqq.).

LARGE BASEMENT CHAMBER

It

17

thus appears that the fagade of the Central Court on this side as on
flanked a series of basement chambers, the floors of which lay well
its

the

West

below the level of

pavement (see Plans, Figs. 1 b, 9). In their original shape they lay even more below the level of the Court as it existed in the earlier part of the Middle Minoan Age.

The

stratigraphy of this whole area bordering the North- West section

of the Central Court was in

more complicated and difficult It was only to decipher than that of any other quarter of the Palace site. indeed with the accumulated experiences of the successive Minoan phases
respects

many

represented in the building, acquired after long years of investigations, that

the problem could be successfully attacked.

Supplementary explorations undertaken by me in 1928 brought to light M. M. some gypsum slabbing immediately overlying the wall-tops of the Early floor^over Keep and belonging, therefore, at latest to the very beginning of the Second waiied Middle Minoan Period. This floor lay 1-14 metres below the level of the An interesting fact in connexion with it, later paving of the Central Court. brought out in the course of the same investigations, is that a paving slab of this system runs under the South end of the wall that in the later plan separated the Central basement chambers from that to the East.^ More than this, a further gypsum slab belonging to the same level was found in the S.W. corner of the Eastern basement space and clearly continuous with It thus appears that, according to the original arrangement. Large the other. after the filling in of the deep walled pits of the Keep, this part of the area ment formed a single chamber. As a matter of fact the original arrangement of chamber, the descending steps ignored the dividing wall. The separation into two rooms by a dividing wall. was the work of the Later '"^ succeeding phase of restoration, dating from an advanced stage of M. M. II ^'^11 and marked here by a second gypsum pavement about 25 cm. above that ^-J^already described as immediately overlaying the wall-tops of the Early The evidences of this extend to both sides of the wall, and in both Keep cases pottery of the fully developed M. M. II class was found in the intervening deposit part of a characteristic cup of that epoch being embedded
'

'.

in the interior of the wall itself.

An
'

interesting feature in the remains of the

filling

gypsum paving on
its

the
cells.

West
The
its

West of this wall the floor-level to which this gypsum slabbing belongs could only be traced by means of the continuation of its underlying layer of clay and plaster, which was immediately superposed on the top of the great walls of the Early Keep and of the
in.

material of

deep-walled

remains of

this floor

underlay the paving of

pier block belonging

re-used steps at a depth of 56 cm. beneath

surface.

The gypsum
later

to the
floor,

same

system rested on this early

i8

RE-USED GYPSUM STEPS AND CENTRAL PILLAR

on the
earlier architec-

Gypsum
steps re-

side of the wall of division threw a retrospective light

tural

used for pavement.

to have arrangement been largely composed, as their acute triangular section shows, of thin gypsum steps with a very broad tread of 65 cm.^ and a rise, in the state in which they are preserved, of 1 2 cm. Of their original width there is no certain evidence, but they had apparently belonged to some very gradually descending Corridor on this side, somewhat suggestive of the contemporary Stepped Portico of the South- West corner of the building. They were of

of the Palace in this region.

The paving proved

'

'

two widths

laterally, of 1-50

and i-i6 metres, which

possible that they

if

we may assume,

as

was

often the case, an alternating arrangement, points to a total width for the

step-way of 2-66 metres.

It is

may have belonged

to

some

Central
pillar of

covered section of an early phase of the ramp passage described above. The slabbing in the Western of the two spaces stands in relation to

Western basement
in

M. M. U6.

which shows, indeed, traces of the This block clearly ledge on which the edge of the pavement here rested. belonged to a central pillar and marks a permanent feature of this basement chamber though, for better security, this supporting pier was in the succeeding
a central

gypsum block ^

(see Fig. 9),

age linked to the South wall. We may deduce from this, as shown in the Plan (at the end of Volume II), that there was here an upper chamber with
a single column.
Exceptional

A
of cell-like

valuable commentary on what

this

may be

regarded as the M. M.

II ^

evidences
of stratification in
'

arrangement of

basement region was supplied by a discovery made

during the very elaborate supplementary investigations of 1928.

The

small

Room

space bordering this central basement chamber on the West, and

principal object that
it

Knobbed
Pithos'.

known from the Knobbed Pithos

wall,

contained as the

'

Room

of the

',

was found

to

to which access was later gained by an opening in the East have had an earlier opening on its South side (see Fig. 9),

corresponding with a floor-level of the same date as the M. M. II d pavement of the Central Chamber, though differently constructed. The opening
itself

gave access

to a small

Magazine with a

plaster floor at the

same

level,

the latest sherds under the intact Eastern section of which were of the fully

developed M. M. II class. But a contemporary slab fitting on to this found in the opening itself and protruding over the inner cell in an irregular fashion had considerable significance. It clearly belonged to a small patch
^

The
least

breadth of the slabs was 75 cm., but

10

earlier
its

Palace

(M. M. II

a).

The

cutting in

at

cm.

of

this

would have been

E. side which served to receive the slabbing

covered over.
'

of the later floor (M.

is

This block, as
its

holes on

\V.

side,

shown by two dowelhad been taken from the

have

been

originally

M. II /;) may therefore made in an earlier

connexion.

FINDS IN NORTH-WEST 'INSULA"

instance, of iron-stone {dfivySaXoXiOo^)

19

of polygonal pavement of the familiar 'mosaiko' class, formed, as in th

and typical of a considerable restoratio of the building that took place towards the close of M. M. II. The chrono

f.

Scale ^^
Fig. 9.

Metres
'

Part of North- West Insula

',

showing Position of Principal Finds.

logical data here

corresponded with previous evidence, and

'

this iron-stone
',

slabbing

is

seen to mark the level where the

Knobbed

pithos

dating from
affords one

the earliest phase of that Period, had been truncated.

This series of levels brought to light

c 2

in this small

chamber

20

STEATITE JAR WITH SPIRAL RELIEFS

on the whole of the Palace

of the best pieces of stratification to be found

site.

An
The

ideal sketch of this

latest level here

is

given

in Fig. 12, p. 24, below.

reached of post-seismic

M.M.I II

(5

date

ex-

tended over this whole area and, from the character of the

relics

found on

Fig. 10.
it,

Black Steatite Jar from Early Floor of Inner Basement.

Stratification in

area N. of
'

Pillar
'.

must have remained in use to the very end of the Palace and the closing days of L. M. II. The same continuity is observable in many of the West Magazines where late Medallion pithoi stand side by side with L. M. I and L. M. II jars. In the space, again, immmediately Nordi of the room with the central which lies at a somewhat lower level owing to the slope of the ground pillar and seems indeed to have been approached by two descending steps slabs
'

'

',

'

Base-

ment

of

gypsum

also appear of the

same

fine alabaster-like quality,

characteristic of the earlier palatial stages.

such as is Here, too, a careful exploration

'

DISCOVERY OF 'SAFFRON-GATHERER' FRESCO

of the material underlying the slabs
^

21

produced similar chronological

results.

only about 5 cm. wide, between the slabs and the earliest Palace floor-level of rough cement-covered blocks immediately

In the inter-space,

in this case

overlying the wall-tops of the

Keep

the

latest sherds

were M. M.
'

1 1

and

the deposit underlying a con-

nected patch of tarazza

'

pavestory.

ment repeated the same

This conclusion as to the date of the paved floor-level of

this area
in

has a special interest

relation to

two discoveries

here made, both apparently belonging to this level.

One

of these finds was a Large

black
steatite

large black steatite vessel 48-5

cm. in height (Fig. 10) with a

spiral decoration in

vessel

with
spiral
reliefs.

bold

relief.

This

spiral,
its

as

will

be

seen
in

from

representation

Fig. 10, differed in

two sections
of the vase.
coil.

of circumference

On On
a
Fig. 11.
a, b,
c,

one side

it is

a simple
it

the other side

characteristic
is

presents
return,

inner

Ivory Bead-seal from Knossos,

M. M.

I a (f).

such as

frequent throughout
ivory bead-seal from

the earlier phases of the Middle

Minoan Age.

It

is

seen already on the M. M.

la

Knossos, Fig. 11, probably of

M. M.
),"

date.^
is

It recurs

on polychrome

pottery of egg-shell type (M. M. II

and

found on jars of the earliest

archaic aspect.
of the room, consisted
'Safifron-

M. M.

Ill fabric

The

other

The jar itself has a somewhat discovery, made near the S.E. corner
().*

of the fragments of the fresco panel representing the naked figure of a boy

fresco.

gathering saffron flowers

first

in a

rocky landscape, described and illustrated

tint

in the

Volume of this work.^ The unique bluish an Age when the Egyptian colour convention
'

of the figure points to

of deep red for males, and

b.

Supplementary researches of 1928. Found N.W. of the Palace site drawn

:

appears on
at
'

E.

g. -P.

ofM.,

ii,

Pt. I, PI.

IX

c,

1-2.

the

time but
of

motive

now untraceable. The E. M. Ill and M. M. \a

'

tree
seals

Seager, Pachyammos, PI.

P.

"

of M.,

i,

VIII pp. 265, 266, and

(xi, a).

PI.

IV.

22

LATER FLOORS OF BASEMENTS

white for women, generally prevalent from the Third Middle Minoan Period onwards, had not yet been adopted. At the same time the colour scheme of the

and scarlet striations, corresponds with that of the great days of Cretan polychromy on vases, which does not extend beyond M. M. IL The latest investigations as to the floor-level on to which it had doubtless part of fallen corroborate the view that this remarkable fresco a frieze above a high dado which in its early characteristics stands apart from all known Minoan wall-paintings, is of exceptionally early date. Nor, indeed, does the fact that it was found in apparent connexion with a M. M. II floor by any means exclude the possibility that it was executed For it must always be borne in mind that, at a somewhat earlier date. while small objects, such as vases resting on a floor, may be generally referred to the latest epoch when it was in use, frescoes on walls often
rocks, with their black

(5

survived
Later
floors

many

interior changes.
<r)

with stone

lamps and
tablets of

Class B.

L.

U.

nia
floors

above.

Base-

ments
bordering Central Court.

The stone lamps found in this space (see below, F"ig. 14, a, b, must be taken in connexion with a later floor-level 50 cm. above the earliest M. M. II laver on which some inscribed tablets of Class B also came to light. In the space immediately West the pavement of this, consisting of clay with a plaster face, was better preserved, and on it lay a mass of much decayed tablets of the same kind. Twenty centimetres above this, again, was a clay floor, resting on which were numerous vessels belonging to the earlier phase of the Reoccupation period (L. M. Ill a), including linked' or double pots, a cheese strainer', and stirrup vases, showing symmetrically decorative but degenerate octopuses, which at the time gave their name to the room. It was observable that these late remains did not extend to the contiguous spaces, a phenomenon frequently repeated and which illustrates the partial and sporadic character of the reoccupation. For the decorative remains of the Palace as restored after the seismic catastrophe towards the close of M. M. Ill the basement rooms above described, bordering the Central Court and South of the area that contained the Saffron-Gatherer', were specially productive. Some account has already

'

'

'

'

'

been given of the earlier stratification of these, and of the subsequent rearrangement by which a central pillar-room was formed, the Easternmost space being separated off by a dividing wall. There is considerable
' '

evidence to show that at the time of the great Restoration new plaster floors were laid down in both these basement rooms the surface of which

was about half a metre above the

earliest

Middle Minoan

floor,

itself

immediately overlying the wall-tops of the Keep.

The mark

of this clay and plaster floor

is

clearly seen on three sides of

STRATIFICATION OF ROOM OF KNOBBED PITHOS

'

'

23

set above the original gypsum base of the Reand this was at the same time tied to the ^l^^^f stout South boundary wall of the basement to give additional security to supportthe central pier. This wall, since removed, was somewhat skewly and badly built, as was not unfrequently the case with basement work executed

the limestone block that was

now

central pillar already described, ^

at this epoch.

Other traces of the same late plaster floor about half a metre above the of the M. M. 11^ gypsum slabbing are visible on the walls of the Central basement chamber, notably on that to the South. Apart from the characters of certain objects found on this floor-level Further and marking it as a work of the New Era, crucial evidence as to its relative supplied place was supplied by the small adjoining space containing the knobbed J'y pithos of the exceptional stratification of which something has been already Knobbed said ^ (see Fig. 12). We have already seen that the pithos itself rested on the rough limestone slabs of a floor representing the earliest palatial stage and At laid immediately on the upper part of the inner walling of the Keep that time the space was a mere cell, walled wholly round, and accessible only, At like the basement rooms of many early houses, by means of a ladder. a later date an opening was made at a higher level in the South wall of the cell, and the iron-stone slabs of a mosaiko pavement of the M. M. 116 class were laid down, the pithos itself being cut off at its level about 40 cm. above its base (see the ideal sketch. Fig. 12). Next, with its surface 15 cm. higher, or 55 cm. above the original kalderim there are well-marked traces on the borders of the cell of a clay and plaster floor 10 cm. thick associated with roughly made cups and small vessels, found in part standing on this level, of typical M. M. Ill a fabric. The outline of some of these is sketched in Fig. 12. It is noteworthy m.m. the cup, e, showing a brown band on a buff slip, resembles in shape and ^^^^f^ that
level
' ^

'

'

'.

'

'

'

',

height
Class

10-5

cm.

the

higher of the 'ink-written'

A,''

from the deposit

clearly of

M.M.

Ill a date

found on the Southsame way.

cups of the

Linear

below
jfave-

East Palace border.

Its base, too, is

pinched

in in the

With

'"^"'

these smaller vessels was part of the rim of a jar presenting white spirals on
a blackish or red-brown ground of which the section
is

given in Fig. 12,/!

This
a time
"

floor with the pottery

upon
cell

it

when

the deposit within the

p. 18.

was in turn earthed under and, at was 1 5 centimetres higher or about

See above,
See Vol.
results
i,

edge of the chamber by the subsequent ex234,

ploration.
'

The
more

235 and Fig. 177. there shown were incomplete,

pp.

J^.

0/

M.,

i,

p.

588, Fig. 431,

a,

and

ci.

vessels

being brought

out

along the

p. 613, Fig. 450.

24

ROOM OF KNOBBED PITHOS'

70 cm. above its original floor, a new opening was made for it, this time in The its East wall, and communicating with the Central Basement room.

GROUND ELEVATION BEFORE EXCAVATION

Diagrammatic Section of East Part of

level of this plaster floor
is

'

Room

of Knobbed Pithos

',

etc.

thus shown to correspond with the

M. M.

Ill d

stage, in all probability its post-seismic stage, contemporary' with the great

restoration of the Palace.

The

threshold of this

new opening

lay at the

same

level as that of the

STONE FONTS AND LAMPS FOR RITUAL USE

later plaster floor

25

which has

left its

traces so clearly

on

its

central pier

and

Extenm'm'.
^^^^'

which corresponded with a floor-level that had a general extension throughout these basements
note, moreover, that,
in the restored building.
It is

of special interest to

sponding with
It will

this

on the actual threshold of the new opening correM. M. 1116 floor, there lay some fragments of the

among the deposits on this floor-level. be seen that the stratigraphic data afforded by the remains in the neighbouring cell fit in well with the relative place of this widely extended floor-level. It is definitely shown to be later in date than the
Miniature frescoes, found elsewhere

M. M. mentary inscribed
earlier

Ill phase.

On

the other hand,

its

association with

some
gap

frag-

Continuous usp of this flc oor

'" ^^'

tablets of the Linear Script

indicates a long period of

stored

use.

The

three rearranged

gypsum

steps corresponding with a

in the Palace,

on the borders of the later Central Court stood in relation to this and close to these the remains of the Spiral Ceiling had been deposited on it.
plinth
floor-level,
' '

These

steps led

down

to the threshold level, continuous with this floor,

of an opening through the wall of division

dating, as

we have
floor as

seen,

from
Miniature

M.M.
inof at
.

II d

between the Central and Eastern basement space, and conformThe

continued
. .

a higher level with an earlier arrange ment.^

Eastern basement was of the same clay and plaster formation, and it was, as will be shown, on the surface of this that the bulk of the fragments of the Miniature Frescoes and of the Spiral Ceiling- came to light.
in this

Frescoes
fgpj^^l
Ceiling'

on

this

Fonts and Lamps of Ritual Use.

'^vei.

amphora of the finest Palace Style occurred near the S.E. corner of the room and, in a central position, a good deal decayed, but with its base resting on the plaster floor, was a font-like basin of Another similar alabaster or fine gypsum of the kind already referred to.^ basin of the same material, also a good deal disintegrated, was found m siht
Fragments of a
L.

M.

II

'

'

Stone
probably
5^j.j"|."^'

ling,

in the

West section of the adjoining basement. The best example of these basins, from its good
removed from
its

preservation,

came

to

light

obviously

original

place

in

the

neighbouring

named after it (Fig. 13). It is finely cut out of a kind of purple gypsum much in vogue at the beginning of the New Era, to which it maybe presumed to have belonged. It was about the same size as the other similar
corridor
basins, the dimensions being
'

90 centimetres

in

diameter and 20 cm.

earlier

in height.

The

threshold of this opening was finished

on the threshold of the

opening,
^

M.M.

II

i^

on the East side by a re-used gypsum block, showing a dowel-hole, set up sideways
off

See above,

p. 9.

26

FONTS FOR RITUAL SPRINKLING

close resemblance of the material to that of the fine
'

The

lotus

lamp

'

found
it

beside the alabaster basin of the central basement chamber suggests that
originally

belonged

to the

same

area.

The
stance.

recurrence of these font-like basins in this basement region borderis

ing the North-West angle of the Central Court

itself

a suggestive circum-

Though

the old

'

Lustral Basin' and 'Initiatory Area' connected

with the North-West

'-^

Portico

fc]

had ceased to function, and the entrance itself was narrowed, a

number of votaries may have still used the ramp passage on this side on their way to the
certain

Central Palace Sanctuary and

Fig. 13.

Large Basin or Font' of Purple

Gypsum.

would have entered the Court at a point where these basements with the font-like recepThe same tacles were handy. may be said especially with regard to the Eastern base-

ment
Numerous stone

'

in

the

case

of those

entering the Court by the North Entrance Passage.

lamps on
later

appears from the occurrence

'

basement
floor.

dim relimous light in these basement rooms on the floor-level answering to the great Restoration of a series of stone lamps. Of these the finest was the lotus lamp, of purple gypsum, the upper part of which with its quatrefoil flutings, lotus buds, and flowers and foliated rim was found beside the
at

That there was

most a

'

'

alabaster font of the central crypt (Fig. 14, a

1,

2).

Two

others of steatite

were found in the adjoining space North (see Plan, Fig. 9). One, Fig. 14, d, The other, with only a low base, was also showed a quatrefoil pedestal. surrounded with sea-snails in relief, a recurring type.^ Though this bordered on the ascending Entrance Passage, it is probable that for obvious reasons it, like the basement West of it, only received a partial light, perhaps through the doorway, from the Central Court.

From

the fine character of several of the stone lamps found in these

basement chambers, as well as their recurrence, it is evident that there was something more than a casual and intermittent need for their illumination, such as would have been the case had they been mere store-rooms. It seems
'

The

reliefs in this

case being a good deal worn, another specimen of this class (from the
is

Royal

Tomb

at Isopata)

given in Fig. 14,

c.

STONE LAMPS FROM BASEMENT AREA

to be a reasonable explanation that they

27

were used

for religious

ceremonies
'

connected

with

the

stone

'

fonts

'.

The

identification

of

holy-water

Fig. 14.

Stone Lamps a i, 2, Purple Gypsum; c, Purple Gypsum (see Anh. lix, p. 150,
-.

/',

Black Steatite;

Fig. 127).

sprinklers

'

akin to the aspergilla of

Roman

Pontifices

by the early Christian Church in a series of

'

and to those used Minoan representations ^ has

See Vol.

ii,

Pt. II, p.

792 seqq.

28

MINOAN ASPERGILLA AND RITUAL SPRINKLING

added
'

certainly
'

to the probability of such a conclusion.

That some kind of

baptism with the aid of such a stone basin may have entered into the lustral ceremonies ex hypotliesi performed in the sunken areas, such as that to the

North-West of the Palace,

their bath-room-like form.

is

probable enough and might help to account for

It is at

the

same time equally

fitting that

such

a ritual sprinkling should have been carried out in the crypts one of which where the stone basins were found. was a kind of 'pillar-room
'

Fig. 15 a.

Restoration of Painted Plaster Relief in Knossian Style from Pseira (see p. 3S and cf. p. 45, Fig. 27).

'

^69- Discovery of 'Spiral Ceiling' and 'Miniature Frescoes' DERIVED from CoRNER SaNCTUARV DaTE AND COMPARATIVE MATERIALS

Embroidered Designs on Holy Robe.

Small corner Sanctziary containing remains of Spiral Ceiling and Miniature Frescoes ; Thesefallen from Upper Chamber ; The Spiral Ceiling Egyptian analogies; Parallel from Tomb of Senmut ; Mature L. Jll. I decorative style; The ^Miniature Frescoes' triple gronp ; Chronological Diaterials ; Fragments found on M. M. Ill floor law governing discoveries fresco remains; M. M. Ill date of fresc^oes ascertained ; Fragments from of
'
'

'

Thirteenth JMagazine ; Characteristic specimen beneath base-blocks of later facade; Fragment from 'Ivory Deposit' ; True 'Miniature' style obsolete by L. M. I ; M. M. Ill date of Miniatuj-e fragments from Tylissos ; Boxers as on 'rhyton' unique bronze vessel; Frescoes from 'Ramp House at Mycenae;
'

'

Fragments from Threshing-Floor heap' ; Miniature designs from embroideries on female robe ; Embossed bands ; Comparison with painted reliefs from Pseira ; Pairs offlutes ; Flutes in sacrificial scene on H. Triada sarcophagus ; BnlCs head trophy between pair of Sphinxes ; Embroidered swallows on robe of Melian fresco ; Miniature fragments of Threshing-floor heap, perhaps
'
' '

from

; Commanding position of Shrine, at angle of Central Entrance; Its small dimensions ; Miniature Frescoes set over gypsum dadoes, on line of vision.

robe of Goddess
I/.

Court and

The

fact

that the Western

of the

two larger basement chambers

its

Small
sa.nt>
'"^''y

described in the preceding Section was provided, according to

structure, with a central pier leads to the conclusion (adopted

original

by Mr. W. G.

had been a room with a central column above it, such as elsewhere seems to have been the arrangement above pillar crypts. We may even assign to it a certain religious destination. This square, presumably columnar, chamber, opened by its S.W. angle into a smaller oblong space, having, apparently, a cell-like recess at its Northern end. Despite its narrow dimensions, this structure held one of the most conspicuous positions in the whole of the building. It occupied, in fact, the corner space at the point where the Northern Entrance Passage entered the Central Court, and, standing as it did well above the ascending gangway, it would have received light from that side as well as from the Court.
in the

Newton

Restored Plan C)

that there

'

At

the end of Vol.

ii.

'

THE SPIRAL CEILING

Contain'

From

the evidence of the finds

made on

the basement floors

it

clearly

ing Spiral Ceiling'

and
'

appears that the principal series of Miniature Frescoes which embody such an unique development of Minoan Art were derived from this little
bulk of them had fallen on the later floor belonging to the Restored Palace, in the Northern Section of the basement underlying it. Some other fragments occurred in company with the fallen remains of a

Minia-

chamber.

The

ture

Frescoes '.

painted stucco ceiling showing spirals and rosettes on the same floor-level, and in the South-West corner of the same area, beside the steps leading
Ceiling

down

to

it

(see Plan, Fig.

9).

In the central basement

chamber beyond,

and
coes

fres-

only a few isolated fragments were found, but two fair-sized pieces lay

fallen

from upper chamber.

on the actual threshold of the opening at Apart that time made into the walled cell containing the Knobbed pithos from the strong presumption that these frescoes had decorated the walls of an upper chamber, their sporadic distribution in more than one basement may be taken as decisive evidence that this was the case. on the same M. M. Ill
b level
'

'.

The
The
Spiral
Ceiling,

Spiral Ceiling.

It

would, in the same way, be quite unreasonable to suppose that the

painted stucco ceiling of which remains were found on the floor of the Eastern

compartment had belonged to the basement itself. It may itself have covered only a small space, but its whole character proclaims that it belonged, like the associated Miniature Frescoes, to a more important structure
connected with the piano nobile of this Palace angle.

The

spiral reliefs

themselves with their central rosettes

Egyptian anaogie
.

repeated in the interstices

belong

to a class of Ceiling decoration that reflects the fashions of

jgyp|-_

contemporary

parallel type of a simpler character, with rosettes only in the

spirals

intervals

and presenting

on a larger

scale,

occurred

in

connexion with

the high reliefs derived from the decoration of what was once the great East

Hall of the Palace.

The
at

highly decorative pattern of the present example

is

remarkable
is

for the quatrefoil medallions with large rosettes in their centres attached

intervals to the surface.

in

The

splendid effect of this ceiling

well

brought out
blue ground.

the Coloured Plate

XV

the divergent coils in relief are

white, the rosettes red and yellow, outlined in black

It
is

on a

brilliant

'

kyanos

probable that the pounded glass used for this was

ceiling, like its fellow
'

imported from Egypt, and the

the fine spiral and papyrus pattern from the

'

from the East Hall, and Queen's Megaron illustrated

'

From

the restored drawing by Mr. TheoSee,

too,
his

Decoration, R.I.B.A.Journ.,
119.

PL

I,

and pp.

118,.

dore

Fyfe.

Painted Plaster

PLATE XV

'/ZMETRS.

.-^X^"

'

//

.,

\\v.

//'

%\k^^^ if'

mTS

^fc^

mj)m.^r
10

2 TLtT

INCHES

CEILING PATTERN IN PAINTED STUCCO RELIEF

THE MINIATURE FRESCOES

31
Parallel

below/ is evidently copied from an Egyptian class of which fine examples have been found belonging to the early part of the Eighteenth Dynasty.^ It is to be observed that a near parallel, though of somewhat simpler type, occurs
in the

tomb

of

Senmut.

tomb of Senmut,^ the wall-paintings on which supply us with some of the earliest illustrations of the tributaries from Keftiu.* As separate features both the spirals and rosettes of similar forms occur on the cups of Vapheio type that they bear as offerings. These fit in again with the widespread
designs on friezes of spirals and rosettes

much

in

vogue

in the

'

Domestic
decorative style.

Quarter' and in
of the First Late

all

probability belonging, as pointed out below,^ to a re- Mature

decoration of that quarter of the building about the close of the earlier phase

Minoan

Period.

This conclusion would make the execution of the painted ceiling than that of the as may well have been the case Miniature Frescoes on the walls, fragments of which had fallen on the floor of the same chamber. It is at any rate clear that at the epoch when it was designed the influence of Egjpt under the New Kingdom was beginning to make itself felt. As has been already shown, the floor-level on which these remains came to light presented deposits covering a considerable length of time and ranging, indeed, from the close of M. M. Ill to that of L. M. II.
distinctly later in date

The Miniature Frescoes and

their Relative Date.

fall

As

a class, the Miniature Frescoes themselves

into several groups. The

ture'^'

A group found in a different connexion, in which small designs are incorporated

in the largfer subject of a

Section.^

Holy Robe', will be described at the end of this Another group, of which some specimens occurred in the structure
'
. .

Frescoes
triple

group.

referred to above, though

tradition,
is

it

has the greatest claim to represent a historic

It consists

unfortunately the most scantily preserved.

of throngs

at the defenders of

of light-armed warriors for the most part hurling javelins upwards, clearly some stronghold or fenced City, of the architectural
features of which

we have only
less

a few indications.
relation to the
'

The
'

subject,
'

however,

is

of the greatest interest both in

its

Town Mosaic
'

of an earlier

age and to the more or

contemporary silver rhyton from the Fourth Shaft Grave at Mycenae dealt with below in this relation. In contrast to this the other scenes, of which more is preserved, illustrate One of these, indeed, festal celebrations in honour of the Minoan Goddess. shows her miniature columnar shrine between grand stands crowded with
'
"^

See below, pp. 371-4, and Fig. 247. E.g. Wilkinson, Ancient Egyptians (1878 ed.), ii, PI. VIII, 31 (facing p. 363).
'

See P. of M., See below,

ii,

Pt. II, p.

737, Fig. 470,

&tc.
^

p. 281,

&c.

G. Jequier, Decoration

e'gyptienne, PI.

XXI.

See

p.

40 seqq.

32

DATING OF THE MINIATURE FRESCOES

spectators, again of both sexes, looking out

Chronological materials.

on what in all probability were The theme of the other composition is The Sacred Grove and Dance in which standing men and seated women look down from under the olive-trees on gaily dressed dancers within a walled space, in which we may indeed recognize the Chores of Ariadne How far, it may be asked, do the find circumstances of these Miniature Frescoes throw a light on the chronological place of this style of wallthe sports of the bull-ring in an arena beyond.
'
' '

'.

painting

The
it

evidence as to the position

in

which they were found

is,

so far as

goes, consistent

and

satisfactory.

The fragments
some

lay on the clay

and

plaster floor-level extending throughout these basements, the bulk occurring

within their Easternmost compartment, but

Frag-

scattered pieces on the

little

floor of the central

room, and two on the actual threshold of the

pithos'.

cell

ments

found on
floor.

named from the M.M.III are quite clear.

vessels

'Knobbed

At

this point the stratigraphic data

The

surface of the floor-level on which the

is

Miniature
{a)

fragments were there found

15 centimetres

above that on which small

earlier

and other pottery

Ill

rested,

representing the

phase
level

of

M. M.

(see above. Fig. 12).

That

the

same basement
to the

on which

the Miniature Frescoes rested continued in use

days of the restored Palace may be gathered from the sparse occurrence on it of parts of clay tablets belonging to the Linear Class B. But, as one now realizes, this
last

does not by any means involve the conclusion that these frescoes belonged to that late epoch though it was natural, at the time of their first discovery, in view of the almost rococo appearance of the seated ladies, their elaborate

toilettes and highly polite gestures, to assume that they represented the most advanced and almost decadent stage of Palace life.

Law
governing discoveries of fresco remains.

The

invariable law, repeatedly illustrated in the course of the excavation

is

of the Knossian Palace,

lesser objects found

that,

while the smaller clay vessels and other

last period of its use, painted stucco decoration on the walls or fallen from them may go back to a considerably earlier time. They may even belong to an earlier epoch than
lay.
it is

on a

floor-level

belong to the

the floor-level on which they

M.M.III
date of frescoes ascertained.

were not and were probably at least as old as the floor itself, it is impossible to arrive at more than a presumption. The plaster floor, as there is good reason to believe, dates from the restoration of the Palace late in M. M. Ill 6 and the wall decoration may have been of the same date. But the possibility always remains that it dates from the time of a M. M. HI a floor.
later than the last L.

Thus

in

the present case, though

clear that the frescoes

floor,

M.

II

elements on the

M. M.

Ill

DATE OF MINIATURE FRESCOES

33

the relatively early date of this Miniature class at any rate well within the limits of M. M. Ill we have, however, some quite conclusive evidence.

Of

The painted stucco fragments found between the Kasella floors in Frag-Thirteenth Magazine have been already cited as giving evidence of early the ["onf
' '

Fig. 15 b.

Painted Stucco Fragment showing Crowds of Spectators from below Kasella Floor of Thirteenth Magazine.

date.

They were covered by

in

the floors of more superficial cists at an epoch

to

which

correspond with Magathe time of the great restoration after the seismic catastrophe towards the zine.

view of our present knowledge must be taken

Thirteenth

end of M. M. Ill, and belong therefore to the pre-seismic stage of that Period. But these, it has been shown, included pieces depicting the crowded heads of male spectators, above a wall, like those of the Miniature Frescoes, slightly larger in scale but executed in the same style, and by means of the same artistic shorthand and, in fact, inseparable from those of the present group (Fig. 15 b).^ A minute but striking piece of evidence was acquired, moreover, by the very careful analyses carried out in 1925 and 1926 of untouched elements
' '

Characteristic

beneath the later

there found
'

West

fagade of the Central Court.^

The

specimen latest sherds beneath

baselater

showed

that the ceramic contents, like those found elsewhere block of

fagade.
i,

Repeated from Vol.

p.

527, Fig. 384.

See Vol.

i,

pp. 442, 443.

III.

34

M. M.

Ill

DATE OF MINIATURE FRESCOES

under the walls of the restored building, did not come down beyond the There was no intrusion, indeed, later phase {d) of the M. M. Ill Period. ^ of anything that could be ascribed even to the beginning of the First Late Minoan Period. But among the sherds thus defined there occurred under
the second base-slab near the S.W. corner of the Court
of a miniature
^

a small fragment

showing the stepped outer edge of an entablature, with impressed thread lines and disk such as might well have belonged to the same
stucco
painting,

deposit as the
of
it

'

Temple Fresco

'.

A
fils,

reproduction
is

by Monsieur E.
l(i.

Gillieron,

given in
of these
Fig.
16.

Fig.
Fragment
'Tvory Deposit',

A
'^^
_

further

important confirmation

stratigraphic results

was supplied by some exquisite

'

fragments of Miniature Fresco described below ^

.

Fragment
Base-slab.

Miniature from under

True
"urestyle obsolete

Double-Axe shrine and of a bull, found in the Ivory Deposit of the Domestic Quarter, the date of which is shown by the ceramic evidence to go well back within the limits of M. M. III.^ It will be seen from the evidences above referred to that cogent proof exists of the Miniature style of fresco painting having been fully developed by the early part at least of M. M. Ill d. On the other hand, the fact that the later M. M. Ill style was still prevalent in the early days of the restored Palace makes it quite possible that those who continued to manufacture pottery of the older class may in the same way have adhered to the practice of Miniature painting in decorating the walls. It is on the whole most probable, in view of the position occupied by their fallen remnants, that the Temple Fresco' and its companion pieces date from the early da) s of the restored Palace. What, however, is certain is that there are no examples at Knossos of
depicting
part of a
'
'

'

fresco design of the true

figrures

'

Miniature

'

class,

with

its

multiplicity of small

and

'

Age.
figures,
'

The
'

shorthand' technique, that can be attributed to the Late Minoan compositions of the concluding Palace periods show larger
'

more sparsely distributed, as we see in the case, for instance, of Taureador and Camp-stool Frescoes The seated Miniature ladies associated with the groups above described, if in an -upright position, would be about lo centimetres in height, the restored figure on the balcony (Fig. 35, below) is o-8 cm.: those standing on the piers only 0-55 though we can hardly assume that this was an attempt at perspective. The female
'.
'

jP.

0/ M., ii, Pt. II, pp. 802, 803. See test 17 (1925): revised, 1926.

' *

See below,

p. 207 seqq. See below, pp. 402, 403.

'

MINIATURE FRAGMENTS FROM TYLISSOS

Taureador, on the other hand illustrated below \
stools
is

35

42 cm. high or at least four times as large as the Miniatures, and the figures seated on the camp-

would work out to about the same scale. Such Cretan evidence as we possess of the true 'Miniature' frescoes m.m. in outside the Palace at Knossos limits itself to some fragments found in <Minia-

FiG.

17.

a, b,

Boxers on Miniature Fresco, Tylissos Hagia Triada.

<r,

on Steatite Rhyton,

a mansion of the not distant Tylissos.

Specially important

among

these,

ture

from their close parallelism with a class of small reliefs, were parts of a row of boxers, advancing left ^ with a tree beyond, and all, it would appear, in the same characteristic attitude as those from the Boxer rhyton found at Hagia Triada,' the figures on which, indeed, and that on the steatite relief and sealing from Knossos * make it possible to restore it (Fig. 17, a, b, c). All these parallel examples may be safely referred to the closing Middle Minoan Period, and the building in which these painted stucco remains occurred also dates from the same epoch. Together with these were found pieces showing the skirts of a series of
' '

from
Tylissos.

Boxers
rhyton.

'

See below, Coloured

J.

PI.

XXI facing p.
Mtj/(uiK^
(

216.

Hall,

Aegean Archaeology,
R. Accad. dei Lincei,
seqq.

p.

60,

PI,

XVI.

Hatzidakis,
1912),
PI.

TiJAtcro-os

'</>.,

XIX.

ApxUnfortunately the

See on the discovery F. Halbherr, Hendicotiti

della
p. vol.

xiv (1905),
17,
^r,

impress of guiding thread line has been repro-

365

The helmet
this.

in

Fig.

is

duced
'

in

such a way as to look

1 7, a.
i,

like a

rope in

restored from
steatite

On

the fragment of the

front of Fig.

vessel
is
i,

from
bare.
p.

Knossos,

however, the

P. of M.,

p.

690, Fig. 511

e

A. Mosso,
Scavi di

boxer's head
*

Escursioni
Creta (ed.

nel Mediterraneo
2),

gli

P. of M.,

689, Figs, 509, 510.

p.

176,

and

Fig.

89; H. R.

36

FRESCOES FROM TYLISSOS AND RAMP HOUSE

female figures and another on which is preserved the upper border of a crowd of male spectators (Fig. 18), some of whom raise their arms in the same way as those on a Knossian fresco where they are looking on a spectacle
below.

An

architectural
Fig.
-47,

fracrment

found

here (see
itself

p. 84,

below)
'

may
'

connect

with the class of

19)^ exhibits

Sieee

scenes de-

Unique
bronze,
vessel.

scribed below.
(Fig.

Another curious fragment

a large spouted
vase,

apparently of bronze, with a handle of unique

form, surmounted
11-

by

a white object
1

resemFig. 18.
j,^^,,

blmg

a tied package, while at the side hangs

.,

^,

-11

Painted Stucco Fragment

a skin vessel

such
a

as are used

cheese here with

Is
it

possible

mammiform that we had

end.

Tvlissos .showing Part of for native Upper Row of Spectators, as on ^rand Stand at Knossos.
'
'

here provisions for those engaged in the

?

athletic contest
Frescoes

beer or wine, cheese, and perhaps a barley cake

may be
to

Among
latter,

frescoes that

included in the

'

Miniature' Class are those

from
'

Ramp
',

of the Votive tablet from

Mycenae^ and of the 'Ramp House' ^

do with the

The

House

Mycenae.

some of which have

as that

bull-ring, also include parts of the

same group

above described of women looking out through a window

the

opening, the posts of which, in close conformity

with the columnar shrine from

Thirteenth

Magazine, show the blades of inserted double axes.

The
is

borders of these panels

where a white band

Here the
:

a blue

succeeded by a yellow band with red bars and band with black exactly correspond with

that of the

'Temple Fresco',
the
','

figures

answer
'

to

Miniature scale

those

of the

Frieze of Warriors

the

Mycenae Megaron
I
*

a
1

on the other hand from composition which may

FiG.
19.

itself

be safely placed well within the limits of

Frag-

L.

M.

are about twice the scale

'

ATiniature Frag-

of those seen went with Vase and Uncertain Object: Tylissos.

'

ments from Thresh'

ing Floor

Heap

'.

^ Miniature panels. on our Tv/rThe Temple Fresco and the Sacred Grove and Dance clearly stand in a religious relation. This conclusion is confirmed, moreover, by a re'
'

Hitherto unpublished.
Gillieron,
fils.

Monsieur E.
coloured red.
"

Drawn for me by The vessel is

and PL VII.
'

Found by Tsountas
Af/i.

in

1886

RodenFries des

waldt,
p.

Mitth.,
;

1922 and
S. A.,

Der

See below,

135, Fig. 88.

xxiv, pp. 191-4,

Megarons,
p.

err.
:

B.

xxv (Miss

^V.

Lamb),

'

Miss W. Lamb, B. S.J.,

164 seqq.

restored, PI.

XXVII.

EMBOSSED BAND AND MINIATURE EMBROIDERIES

markable group of fragments found
painted
stucco

37

in a large

deposit

that

came

to

liglit

beneath a later threshing floor, about 1 5 metres North of the area where the Miniature Frescoes were found. ^ As a series of these fragments evidently belonged to the same subject
' '

we may
mere

infer that they

were

in this case

not

disjecta

membra, but derived from the

borders of the region in which they were found

and connected probably with the same group

of sacral
structures

as

those depicting

the

Grove and Temple.

Miniature Designs representing Embroideries

on Dress.

As
this

being of an exceptional character, the

to
is

Miniature designs

group of fragments referred

place.

described in

The

Miniatures

in this

case did from em-

broideries

not stand by themselves, but were subsidiary on

to larger figures,

female

and a study of
conclusion
that

their

remains
repre-

robe.

established the

they

sented the embroidered designs on the robes

of one or

more seated female

figures, partly

shown

in slight relief.

All the lines connected

with miniature designs were slightly

waved or

curved, evidently belonging" to the flounces or

aprons of feminine
slightly

attire.

Associated with these were sections of Em-

embossed bands,

4-1

centimetres in

bossed bands.

diameter, of very hard plaster with a smooth

surface, in
Fig. 20.

one case coloured a

brilliant azure

Embossed Band

(f).

blue, in the other a

series of

deep red and showing a

in with

chevrons and spirals dotted

materials elsewhere.

This great fresco heap

or,

rather heaps
later threshing

That

this

took place at

lay for the

floor

most part under a

It

a late epoch
stances. tain

may be gathered from two circumitself

{aXiiviQv)

above the area of the N.W.

Not only did the deposit

L.

con-

Portico.

contained miscellaneous pieces

some

M.

Ill fresco patterns, but

'

it

was
'

of painted stucco evidently stripped from the walls of the neighbouring Palace region in the

superposed on wall-stumps of
date.

Reoccupation

course of their demolition to supply building

MINIATURE DESIGNS OF EMBROIDERIES

a thick white engobe (Fig. 20).

The whole

technique was of very fine

execution and the chevron and spiral motive

parallel

itself

suggests an interesting
' '

engaged columns of the Atreus fagade at Mycenae. These, however, as can be seen in the fragment. Fig. 21, and the restored sketch, Fig. 22, formed parts of the borders of ladies' jackets, and the variation in their ground colour is explained by the
with
that

of the

fact

that

we

see

here the spring of

the

shoulder out-

line of

two

figures.

Comparison with

We may
clude
that

conthere
Fig. 22.

Partial Restoration OF THE Figures

THE FraGIIENT, FiG. 21, BELONGS. (Compare the Painted Stucco Relief from Knossos, Fig. 27, at the end of the Section.)

TO WHICH

were here two female personages seated side by side after the manner of the
'

Ladies in Blue

'.

even closer comparison both in style and date is suggested by the remains of two female figures found by Seager in one of the principal houses in
the Island of Pseira,^ where the rebuildFig. 21.

An

Fresco Fragments of

Two

ing was carried out towards

of

the

close

Female Figures.
painted
reliefs

M. M.

11.^

These were

also partially

from
Pseira.

sleeve decoration.

and the chevron pattern also forms in one case part of the A smaller fragment of a similar relief (Fig. 27, below) ^ was found at Knossos in the same heap as the above. The miniature designs on the Knossian fragments under discussion seem, as already noted from the waving lines that contain them, to belong
executed
in relief
'

In Mr. Seager's original publication (^.v-

shows two seated

fallen
^

figures.

The fragments had

{op. at., p. 15).

cavations on the Island of Pseira, Crete, 1910,

PI.

from an upper floor

10.

and

pp. 32-4) the fragments were re-

Seager, op. ciL, p.

He

also extends

stored as belonging to a single figure.

revised
restoration
fils,

of

the

fresco
at

The by M.

the process of rebuilding into L.

^

M.

I.

As

restored

by M. GiUi^ron,

fils.

Gillieron,

in

the

Museum

Candia,

MINOAN FLUTES
to the flounces of

39

one or more of such seated

ficrures.
its

The narrow

almost

Pairs of
"'^'

imperceptibly undulating band, Fig. 23, exhibits on

blue ground a row

Fig. 23.

Embroidered Band with Flutes.

of three pairs of flutes attached to one another by

some kind of

strings.
Flutes in
flgjaf

What seem

to

be parts of a bone

flute

were found at Mycenae,^ but the

best evidence of
its

M moan
plied

use

is

sup:

^J^"^." sarcoP'^""'-

H. Tnada

by the Hagia Triada sarcophagus.

youthful

ministrant

with
is

long locks

there

seen
double

blowing
pipes

of

more

elongated
sacri-

form above a
a
table

ficed bull, laid

on
his

with

limbs closely bound

together
in

the

Egyptian

manner,

while his life-blood

pours into a vessel

placed below,^ Fig.
24.
Sacrificial Ministrant playing Flute

The

sacrifice

Fig. 24.

H. Triada

Sarcophagus.

would have had to do with funereal rites on

in this case
:

the other
1

hand
130

in the Iliad
pp.
78,

we
79,

find

avXoi
"

played, together with lyres, at

dilfaghia
II,

Schliemann, Mycenae,
a.

and

-K.Ya.r:\hmi, 11 Sarcofago dipinio

xix,

Figs. 128, 129,

Triada {Mon. Ant.,

1908), PI.

and

40

MINIATURE DESIGNS OF EMBROIDERIES

How
early the use of the double-pipes

marriage dances.^
in a

was known

in the

Aegean World may be seen from

grave of the Island of Keros
^

the marble image of a flute-player found and going back to an epoch corresponding

with the last Early Minoan Period.

Bull's

Another

inset, in

a slightly arched space of the larger pattern, consists

tiophy between
sphinxes,

of a kind of bull's head trophy apparently between a pair of sphinxes (of which onlv one is preserved), antithetically arranged. The bull's or ox's

head
griffin

figure

is

completed by another somewhat larger example (Fig. 25,

a)

already illustrated as supporting elephants' tusks.'

(Fig. 25,
e)

figure of a seated

may have formed

front

part of a similar opposed pair on

the

same

zone.
its

Fig. 25, /,

monsters with

facing

shows part of one or other of these sacral and expanded wings. There are other

enigmatic fragments.

meaning here of the curvilinear arrangement of the larger part of the decorative framework in which these miniature insets are inThe whole forms part cluded there can, as already said, be little question. of the front of the robe of a female personage. That the curving bands are in fact quite appropriate in this connexion may be seen, for instance, from the
to the

As

remains of figures belonging to the

those of Thebes and elsewhere.

'

Procession Fresco' at Knossos, and

is

What

singular in the present case

is

the

introduction of these miniature designs, which have nothing to

textile art

do with

and must

certainly be regarded as elaborate pieces of embroidery.

is

Emswallows

close parallel to this, however,

is

supplied by the front of the skirt of a

female figure, part of which

preserved on some painted stucco fragments

(Fig. 26) in the
it,

onMeiian

found at Phylakopi
'

in

Melos

same room

that contained the

Flying Fish' fresco,^ and, like

work of the Knossian School going back

is

to the earlier phase of

M. M.

11.=

A
one up.
lady,

richly dressed lady seated

still

on a rock
forward,'^

here seen engaged

to

in fishing

with a net of a kind

used

in

those waters, and the beautifully outlined

arms of a companion, who bends

may be thought

be pulling

Here, on the part of the robe corresponding with the lap of the first is an embroidered design of two conventionally rendered swallows set
is fully

pp. 51-4, where the subject

Cf.

discussed.
e gli

'

Cf.

P. o/M.,

ii,

Pt. II, p. 742, Fig. 475.

Mosso, Escursioni nel Afediterraneo

491 seqq. U. Koehler, Ath. Mitth.,

Scavi di Crela, pp. 260, 261, and Fig. 146.

'

//. xviii.

See R. C. Bosanquet, Phylakopi, pp. 735 and Fig. 61 (wrongly described as a man). See P. o/M., i, p. 544.
*
"'

'

ix (1884), PI.

VI,
i,

Phylakopi,

p. 74, Fig. 62,

and

cf.

P. ofAL,

and pp. 156-8.

Cf

Perrot et Chipiez, Hist,

p.

p.

544, Fig. 396.

de r Art, vi {^Grece primitive),

760, Fig. 357.

f
(J).

Fig. 25.

Miniature Subjects from Fresco representing Embroidery on Robes


42

PHYLAKOPI FRESCO WITH EMBROIDERED SWALLOWS

to back.

back
scale,

restored drawing of the whole design

is

given

in Fig.

26.i

Though
it

the birds^which are of miniature scale

will

are on a somewhat larger

'

be seen that their symmetrical, antithetic position answers to that It will be assigned to the sphinxes and griffins on the present fragments. plume ornament on their observed, moreover, that they show the notched wings under its earlier, well-formed asoect.- This feature seen on the bone arrow-plumes from the Temple Repositories at Knossos, as already noted has specially religious associations, and not only appears on the wings of the
'

sacred monsters, but forms a recognized ornament on the skirts of the

Minoan Goddess and her

Miniature de-

votaries.^

coration

perhaps

does not seem unreasonable to suppose that the robe to which the present group of painted stucco fragments belonged, with its richly embroidered bands, on which the miniature sphinxes and griffins repeat
the whole
it

On

from robe
of Goddess.

in confronted groups, actually belongs to a figure of the Goddess perhaps in company, as she often appears, with a companion or This finds an analogy with the lower borders of the skirt of the double. facing figure recognized as that of the Goddess in the Procession Fresco,

themselves

herself,

where, though in that case the designs are simply decorative, they are exceptionally rich in ornament. It may be fittingly described as a holy robe
'

'.

The

style of this large-scale work, the details of

which link
it

it

on to the

miniatures, fully corroborates the conclusions as to their relatively early date.

and the group of paintings executed by a Minoan artist at the command of some Melian Prince But these to adorn the walls of the pillar sanctuary of his residence.
Close comparisons have been established above between

Phylakopi frescoes
earlier
this

in

some respects present the

it

finest characteristics of the

phase of M. M. Ill and

is

impossible to bring

down

the date of

Knossian work

later than at

most the concluding phase of that Period.

'

The Small Sanctuary Structure containing the Miniature Frescoes.

'

Commanding
corner
position of shrine.

Apart from what seems

'

to

have been a

little
'

nook

at

its
'

the small Sanctuary Chamber, to which the

points in the whole building.

Spiral Ceiling

Northern end, and the purely

Miniature' frescoes belonged, occupied one of the most important vantage

Its smaller, Southern wall faced the Central Court while that on its Eastern side looked down on the upper section of the Northern Entrance Passage and thus on to the paved ramp that gave the most public access to the interior of the Palace. Executed for me by Monsieur E. Gillieron, blade of King Aahmes (1587-1562 B.C.) this
^

fils,
*

who

first

recognized this feature.

Minoan
shape
'

feature already appears in a secondary

See on

this

P. of

Af.,

i,

p.

547 seqq. and

of the axe-

{ibid., p.

551, Fig. 40'2\

Figs.

399,400, 401.

On

the

grififin

Ibid., pp. 549, 550.

Fig 26

Embroidered Swallows on Figure of a Lady drawing up Net showing (From Phylakopi partly restored.) Skirt.
:


44
Though
small dimensions.

MINIATURE FRESCOES FROM SMALL SANCTUARY

The
structure itself was, as already remarked, of quite narrow dimen15I feet) from N. to S. and 2-70 m. from E. to general proportions correspond very well with those of the little
{c.

sions,

about 4-70 metres

W. These

the analogous structure that occupied a central position on the

Shrine that forms the centre of one of the Miniature scenes themselves, or of West fa9ade
of the Court, which was about 5 metres (i6| feet) in breadth. In this case the fa9ade would have been on the East side, but the interior arrange-

ment must have been

end as a
ce/la.

different if

we

are to interpret the nook at the North

The

Miniature Frescoes themselves were specially adapted for a

little

sanctuary chamber of this kind.

Some

small but very beautiful fragments

'

of such, moreover, found in association with the

Ivory Deposit

'

of the

Frescoes
set o\er

gypsum
dadoes on line of
vision.

Domestic Quarter on the East, were probably derived from an exiguous shrine of the same kind.^ Such frescoes, owing to the minutiae of their designs, were obviously intended to be placed close to the eye, and it is therefore difficult to suppose that they had been set above the upper borders of the high gypsum dado slabs such as were usual in the Third Middle Minoan Period, and the earlier phase at least of L. M. I. The upper part of these slabs, according to the regular arrangement so well illustrated in the Domestic Quarter 'corresponded with the lower line of horizontal beams forming a continuation of the lintel of the doorLike the doorways, the gypsum dado slabs were almost exactly two ways. metres in height, and fresco bands, as was shown for instance by fragments found in position in the Bath Room by the Queen's Megaron covered the wooden band, and themselves rested on the upper borders of the dado slabs. In the Caravanserai the Partridge Frieze' had been set above this lintel line,^ and in this case, though the subject was of the natural size, it has the appearance of being somewhat skied On the other hand, in the House
'

'

',

'

'

'

'

'.

'

of the Frescoes

'

"

the friezes of painted plaster with their rich details show

beam immediately aSove them, and they were probably below the lintel line, starting therefore, if we allow for a mean height of about 70 or 80 cm.,* from a line a metre above the floor level.
traces of a horizontal
set
'^

'

See below pp. 208, 209, Figs. 142, 143.

P. 0/ A/.,
ii,

additional width

for

the

lower part

of the

'

Pt.

I,

p.

109 seqq., and see

in this case

scene, as well as the lower border, the original

p. 108, Fig.

49.

The
p.

lintel line
floor.

width would probably have been about 70 cm.

ran i-8o metres above the

'
*

The maximum
as preserved

height of the

'

Temple Fresco
performance

'

Hid., Pt. II,

431 seqq.
height or vertical width of

was only 42 cm., but the whole

with the
is

The preserved
is

of the front scene

the fresco representing the Sacred Grove

and

wanting.
'

Dance

49 cm.

if

we add

to this

some

Hid.,

p.

460.

In the basement room of

POSITION OF MINIATURE FRESCOES ON WALLS

In a small structure, such as
is

45

here presupposed,

it

is

better to take

the suggestion supplied by this private house rather than the analogies of
palatial corridors

and

halls,

and we may well conclude that Miniature fresco

bands, which were probably of about the same width as the panels of the
'

House

of the Frescoes', started from the

in

same height of 70 or 80

cm.,

and would
this
p.

that case have been admirably set on the line of vision.

beam) was
ment.
set only 6i

house with the double-axe vases [ibid., 435 seqq.) a decorative band (superposed

cm. above the pave-

on a painted imitation of a narrow horizontal

Fig. 27.

Restoration of Painted Relief from Fresco N. Threshing-Floor Area, Knossos {c. \).

Heap of

JO.

The Miniature
'

Frescoes,
:

i,

The Temple and Grand

The
'

Stands.
Spectators;

T/ie

Temple Fresco'

its iec/miqtie ;

Grand Stand' and

glares ; Artistic shorthand in delineation of Ji

The

-u'ovien,

more carefully represented

"Court
A-E
;

zvithout decadence;

dependence

Relation of figures to The Seated Ladies Groups

Great members; The men; Ladies; Freedom in Art, close earlier 'Ladies in Blue'

Grotips compared with those

of the rococo Age, as depicted in the boxes of theatres, &c. ; Separate groups Dramatjc of women in f'ont seats mark of Ulatriarchal stage of Society that of Naples compared; Gesaction; Prominence of gesture language

on signet-rings primitive elements ; Women segregated in mixing freely with men below ; Isolated fragments zvith parallel f'ont seats but groups; Window scenes Cypriote, Assyrian, and Biblical parallels ; Contrast between Knossian Ladies and Oriental Hierodules ; Presumption that
tures in
scenes

'

'

of the Bull-Ring ivcre depicted in loi^'er part of panel ; Thg -Central Superposed Pillars Shrine ; of Grand Stand parallel examples ; Upivard tapering posts and their analogies; Theatral signifiscenes

Columnar

'

'

cance of single pillars in agonistic scenes.

The
FreTco''^

Of
Fresco
filled
'

the two miniature fresco subjects brought to light in the basement

area above mentioned, that called from

is

represented by the greater

Temple number of fragments and may have

its

central feature the

'

more than one panel. Although only a certain proportion of the fragments could be actually united, the main lines of the composition to which they belonged were fairly clear, while architectural symmetry has supplied a further guide. It has, therefore, been possible to propose a general scheme of restoration, admirably worked out for me by Messieurs Gillieron, father and son, of which the central section is reproduced in the Coloured Plate XVI. A restored section of the continuation of the scene to the left is shown
in
PI.

Fig. 28.

In contradistinction to a corresponding space to the right of

rightly placed the female figures, thirteen in

XVI,

if

number, are here seen

'

in a standing position.

a plinth.^ wing.
'

It is
it

Was

They seem, too, to be placed on a wall-top rather than noteworthy that there were no figures in the pit' below this possibly the side of an enclosure ?
has been also reproii,

The

shrine

itself

interpreted as steps, but rather, as in the case

duced above and Fig. 371.

^

in Vol.

Pt.

II, p.

594 seqq.

of the adjoining piers, as courses of masonry,

See on

this, p. 63,

note

i.

The

horizontal lines on this are not to be

Illlllllllllllllllllll

PANEL OF

'

MIN;

'

THE TEMPLE AND GRAND STANDS

The
plaster.
artist,

47
its tech""^"^'

or rather

artists,

who

painted the original panels were them-

selves guided in their general arrangement

by incised
is

lines set out in the

remarkable feature of these lines

that they were produced

lines,

by

means of

fine strings or twisted threads

strung in parallel

the twisted

Fig. 28.

Restored View of Grand Stand and Spectators to left of Shrine.

texture of which

is

clearly impressed

on the plaster surface.

its

The

border,

the outlines of the shrine, and the divisions of the theatre are clearly marked
in this

way.

The broad

colouring of the shrine, with

alternating areas

of red, black, blue, and yellow, was then rapidly filled in, and also the broad washes of red background to indicate the crowds of men. The details were
finally

added, evidently with a fine brush.

The whole
class.

composition clearly centres round the

in fuller detail, belongs to the typical

though here seen

Temple, which, The 'Grand Minoan and Mycenaean Stand

little

On

either side are the terraces

pillars

and

tiers

with curiously constructed and

Spec-

supporting

of a kind of

Grand Stand or Theatre, crowded with

spectators of both sexes.

'

These technical

details are

from a note kindly supplied by Mr. Noel Heaton.

48

GREAT CROWDS OF SPECTATORS

In front again of the central shrine and adjoining wings of the

Grand
it

Stand
Artistic

is

a rectangular

Court enclosed by low walls that divide

from

short-

hand

in

delineation of
figures.

side. These spaces, like the tiers behind, are crowd of men and women. Very remarkable is the artistic shorthand here brought into play for the rapid delineation of these multitudinous figures. The original ivory-white background and the broad zones of Venetian red washed on it supplied the conventional colour for the two sexes, alternating in groups the individual details being then

similar enclosures

on either

entirely filled with a dense

summarily sketched
the frieze that
it

in.

It

has already been computed that,

in the parts of

has been possible to restore above and

first

in front of the central

shrine and in the

section only of the stands on either side, the

number of

persons amounted to about six hundred.

But parts evidently belong to further panels, perhaps centring round other architectural features, and we can have the actual evidence of only a fraction of the concourse of people gathered from
all

parts of
'

'

broad Knossos
fresco,

'

to look

on

at the great religious spectacles.

In

the

Dance

'

when complete,

there would have been

some

,400 figures.
^
!

What an earnest this What a still living witness

here chiefly concentrated
Great numbers.

of the Homeric

tradition of the great 'City'

to the 'countless' population of

Minoan

Crete,

From
infer that,

the fact that the proportions of these vary in the groups in

different parts of the scenes

and contain variations

artist

in st)le,

we may even

complexity of
The men.

and the had collaborated on a single panel. The men, of whom only the busts are shown with white collars round their necks, have curly hair, the locks of which fall down from their temples in front of the ears like those of the women, and at times, like the latter, they wear a kind of band or diadem.^ The male heads of the upper row, however as is shown by the regularly smaller scale on which they are drawn are probably, like the smaller figures on the companion fresco, intended to represent those of young boys, and these display the peculiar feature of
owing
to the rapid execution necessary in the fresco process
detail,

more than one

top-knots with a curl in both directions.

They

are pointing excitedly at

some performance which is evidently being enacted in the arena below. What was the character of the spectacle that thus thrilled the lookerson ? Unfortunately the whole of the lower field of the design on which this was certainly set forth, like the ritual dance on the companion fresco, is in
1

Od.

xix.

173-4, 178.

Cf. F. of

AL, W,
the
or

artists

have

at

times

inserted
coiffure

the outlines

Pt. II, pp. 564, 566.

^

of
in

female

heads

and

on the red

It

would appear, however, that

of
this

patches.

rapid execution

work the

artist

PLATE XVII

C 5-9

MINIATURE FRESCOES OF SEATED LADIES ON GRAND STAND

{Vjitored Draiving by E. GilHrmn,
fi/s\

-.

anc

THE COURT LADIES

this case entirely to seek.

49

But a welcome

parallel

portion of a fresco in the

same Miniature

style

found

from Mycenae and a in the Domestic

be seen, a probable clue. It is clear that, though the male spectators were the most numerous, the The artist's attention was really concentrated on the female figures. The men ^^"' are treated in the most summary way, only the head and neck with the carefully surrounding collar being rendered, while their eyes are indicated by mere sented.
itself supply, as will

Quarter of the Palace

white dots.

In the case of the women, on the other hand, their comfull

plete figures are reproduced, whether seated or standing, their eyes more-

over are duly outlined, and

robes.

details are given of their brightly coloured

drawing of some of these ladies on a white ground inevitably The ^ executed some eleven centuries later, ladks. But what a contrast here in style, in movement, in the character of the figures We are very far away from the restrained pose of Classical Greece. At a glance we recognize Court ladies in elaborate toilet. They are fresh from the coiffeur's hand with hair/r/s^ and curled about the head and shoulders it is confined by a band over the forehead and falls down the back in long separate tresses, twisted round with strings of beads and jewels.^ In some cases the locks above the forehead curve down in a curious way above the The sleeves are puffed, and the constricted girdles and flounced shoulder.^
fine

The

recalls the

white Athenian lekylhoi

skirts equally recall quite

modern

fashions.

narrow band appears across

the

breasts

which suggests a diaphanous chemise, but the nipples of the in one case the pendent breasts themselves give a decollete effect. The dresses are gaily coloured with bands of blue, red, and yellow, showing white stripes and at times black striations indicative of reticulated and scaled designs like those of the Processional Fresco. (See Coloured Plate XVII.)
chest,

indicated beneath these

curiously artificial atmosphere of social life pervades these highly Freedom groups of Court ladies with their puffed sleeves, their wasp waists, and without This impression, which smacks rather of Versailles \^^'^' elaborate hairdressing.
polite

than Florence,

made

it

natural,

when they were

these
S. A.,

dence.

first

discovered, to brinoart,

down
'

these productions to the latest phase of the Knossian Palace

and

See

my
a

original

appreciation

of

art
^

figures, Knossos, Report, 1900, p.

vi).

47 {B.
first

would have rewarded the Minoan artist, The meaning of the white bands crossing
large tresses of hair
'

By

fitting

chance one of the

to see

the
'

is

supplied by the

them at the time of the excavation was Dr. Wilhelm Klein who had done so much to illustrate the white-figured

Ladies in Blue

fresco, of

somewhat

earlier

date, executed
i,

on a

larger scale (see F. of M.,

Athenian

lekythoi.

His

p. 545, Fig. 397).

^

surprise at such a revelation of pre-Hellenic

III.

E.

g.

in

Group

B,

3, Fig.

30.

50
to

DEPENDENCE OF GROUPS ON 'LADIES

IN BLUE'

But conclusive evidence, to which an epoch on the brink of decadence. attention has been already drawn, is now at hand to demonstrate that the Miniature style in wall-painting was itself fully evolved well before the close
of the Third Middle
'

Relation
to earlier^
!H'J''^^Ill

Blue

Minoan Period. At most it can be said that the Temple Fresco' before us marks the beginning of the New Era. These frescoes do indeed belong to a stage already removed from that represented by the class of wall-painting that characterizes the earlier M. M. Ill phase and of which the Ladies in Blue' are the best record.'
'

t-

Still,

in

certain respects,

this

earlier

group,

though very

different

in scale, supplies

real

anticipation

of that before us.

in

The

figures in

the former case are of

life size,

but yet

certain features of hair-dressing

and costume present

also arranged in groups with their skirted legs

series, and they are drawn in sideways, like so many of the miniatures. They show, however, a more stable pose and their Their micasured outlines are purer and drawn with greater artistic care. movements contrast with the vivacious gestures of those beside the little One of the seated figures is seen fingering a necklace, a sign that Temple. their conversation as is said to be commonly the case with harem ladies at the present day may, even under the freer conditions of Minoan women's The subject of life, have largely concerned itself with jewellery and fashions. a closely related and contemporary painted relief is a man's hand attaching

distinct

resemblances to the smaller

a gold necklace to a lady's neck.^

Close

depen-

We must admit, in any case, the close dependence of the Miniature groups before us on these larger works of the immediately preceding epoch, the chief theme of which seems to have been toilet scenes and intimate conversation on subjects of female interest.

This dependence, indeed, may

help to explain the extreme detachment that these ladies,

front seats of the

who occupy

the

Grand Stand, show from the performances of which they were clearly supposed to be spectators. Those posted above on the piers of the Grand Stand and others who appear in a standing position have,
'

F. o/AL,

i,

p.

544 seqq. and Figs. 397, 398.

and
'^

Figs. 430, 431.

Ibid.,
i,

Unfortunately the very imperfect remains of

this

p.

526, Fig.

383.

Except

for

group have further suffered

from the

two

finger-tips this painted relief

was

entirely

damage done to the Candia Museum in 1926. Amongst other features, the most beautiful detail, the hand fingering the necklace (ibid.,
P-

pulverized by the Earthquake.

These

debris
fils,

have been reset by Monsieur E. Gillieron,

in a

coloured cast already

It

made by him
loc.
cit.,

at

my

546, Fig. 398), has been destroyed.

For

request.
lieve,

does not seem necessary to bethat the

analogous fragments of figures of the same style found in the Earlier Corridor from the

as

suggested by me,

robing scene had to do with any special sacral

function.

West Porch

see Vol.

ii,

Pt.

II,

pp. 680-2

THE GROUPS OF SEATED LADIES

indeed, the air of looking on.

51

But the seated figures seem to be only concerned with themselves and their own coterie, the subjects of conversation at times provoking dramatic personal emotions.
it

A and B, shown beside the little Temple and between The on either side {see Coloured Plate XVII) that to the left ffdies'': (A) can be recovered in its main composition from the remains of the upper Group A.
Of
the two groups,
first

and the

pier

A
Fig. 29.

12
The Seated Ladies
:

4
A.

Group

(See Coloured Plate XVII.)

part of four figures,

all

on one piece.

The

first

of these (No. 2) entails the

on the left, which, according to the space at completed the group. our disposal, would have The reconstitution of the first figure is here based on the corresponding
original existence of another

pair of

Group B

(Fig. 30,

i,

2).

It

suggests the intimate converse of two

Nos. 3 and 5 to the right of this show a certain conformity with and 4 of Group B, the raised hand of the first lady being seemingly indi3 cative of surprise at what she is hearing.
confidantes.

Group B may be
heads of Nos.
if

practically regarded as complete except as regards the Group B.

and

a-tite talk, the right

Here the first pair are engaged in a very close tete3. arm of the second lady being laid on the other's side as

to arrest her attention.

special feature, moreover, in the case of the

second figure

may have

a definite intention.

On

the other female figures or

fragments of such
outlined

in this series, the

bosoms
this,

indicating the nipples.

In contrast to

regularly show two mere dots, pendent breasts are here clearly

a matronly touch.
E 2

52

THE SEATED LADIES

May we
venture to suppose that
?

we have here

a mother giving social

advice to a debutante daughter

unique feature of
of netting.
lively

3 is

the termination below of two long fore-locks

in a piece

The

seems inexplicable. the lady nature of the conversation between No. 3

veil in such a position

to

12
Fig. 30.

3
:

.-;

The Seated Ladies

Group

B.

(See Coloured Plate XVII.)

whose
right

coiffure this net belongs

and

her neighbour on the right at once

strikes the eye.

The

latter points

arm

so as almost to lay her

'

her statement by thrusting forward her palm on the other's lap, while her confidante
!

amazement. You don't say so the sense of the words can be supplied, though we may never decipher the lan^uao-e. Meanwhile, the young woman on the extreme right of the group profits by the engrossment of her companions in their own affairs to beckon
raises hers in
'

to

some

friend beyond.

A
interval

larger

pier of the

number of these ladies occupied the wider space between the Grand Stand, that rises to the right of the little Temple, and

similar piers beyond.

This space v/as of about twice the width of the between the first piers and the borders of the Shrine, and accommodated therefore about twice the number of persons. On the basis of the


THE SEATED LADIES
53

fragments a-d, Monsieur Gillieron has completed Group C of nine persons on Group the front border of a space of this width which fills the (22 centimetres)

"

I
'<

J^NAywvA,,^^A^,

Fig. 31.

567
Seated Ladies
:

Group C (Nine

89
Figures).

For

4-9, see

Coloured Plate XVII.

broad interval to the right of the first pier on that side in the restored fresco.^ It is reproduced in two slightly overlapping sections in Fig. 31.
'

As seen

in the

Museum

at

Candia.

54

SEATED LADIES: DRAMATIC ACTION

Here again the
subjects
fall

into pairs.

Of No.
B,
i

there
2

is

only a sug-

gestion

the

attitude being modelled on

2.

Group

and

while
is

merely
only a

the head and shoulders exist of No.

Of

the second group there

small part of No.

4.

from the preceding and looks out beyond the

the face in
all

In this case, too, the last figure on the right turns away The profile rendering of pier.
it

cases

makes

possible,

however, that she

is

intended to be

looking straight out at the sacred sports beyond.

The composition itself, as will be seen, is very simple in all cases. The groups are largely discontinuous, the conversation being broken up into There, too, when the numbers pairs, very much as an English dinner party.
are uneven the odd one
is

often left in the lurch.

Group D.

Group A, indeed, in Nos. 3-5 we have clear evidence of a conversawhich three partake, the middle figure rather as a more or less detached listener. In another shape, in which two are actively concerned with the statements of a third party, this triple arrangement seems to have
In
tion in

been twice repeated on the interesting but unplaced fragment, Fig. 32 (Group D). The upper part of this piece of fresco has been a good deal effaced, but essential traces of three heads, a raised arm, and shoulders can be made out, sufficient to supply the key to a well-founded restoration. At my request Monsieur E. Gillieron, fils,^ has made, in Fig. 32, D, a, a careful tracing of the
design as
it

exists in

its
d.

present state and added the completions, as indicase

a section of one of the wider

cated, in Fig. 32, D,

Dramatic
action.

It

looks as

if

what we see

in this

is

groups consisting of about nine persons. Nos. i and 2 may thus be regarded as completing another trio. The first of two listeners bends forward
if intent on what she hears. The body thrown slightly back with her hand raised in front of her face she is quite shocked at the scandalous tale The second trio suggests an even more personal and dramatic interpretation. The first lady, with an emphatic down-thrust of her visible hand on the side of her thigh, bends

with her right forearm half raised, as of the second

is

forward so that her nose almost touches that of the second figure,
to raise her right forearm as
this apparently
if in

who seems
show
that

deprecation.

But the forward pose of

sharp-tongued neighbour
Gillieron, pere,

may

best be taken to

'

The

late

Monsieur E.

had

Apart

executed similar copies for

me some

years

from Monsieur E.

these,

the
fils,

Gillieron,

new restoration of made independently

essential accuracy,

back, but a minute study of the fragment has

since elicited

for

me, corresponds almost exactly with the

proof of
its

some

further

details including

earlier drawing, a

the

evidence of the raised

hand of No.

2.

SEATED LADIES: DRAMATIC ACTION

55

3
Fig. 32.

4 3 Seated Ladies

.5

Group D.

her winged words are aimed, across the second of the group, at the young woman on the extreme right.^
^

The

greater part of this figure

is

wanting,
left

is

preserved by the nipple of her right breast,

this

but a section of the forefinger of her

hand

showing that her missing arm was turned

56

THE SEATED LADIES ROCOCO COMPARISONS

Another
isolated fragment
is

inserted here in Fig. 33 as

showing excepis

tionally

fine

delineation of a female head.

Here the

scale

somewhat
presents

smaller.
Group E.

Group E, which bears the mark of being by another somewhat higher figures and may be reasonably supposed

artist,

to

belong to a

continuation of similar scenes on a separate panel. If the arm of the lady on the right is
stretched

down

in

the

manner indicated she

must be taken to be the terminal figure of the group hailing some friend in the 'pit' below. Similar detached action on the part of the outermost figure has been already noted in the
Fig. 33.

Female Heads.
?

case of

Group

B.

Were

these ladies perhaps

pointing or beckoning to favourite champions

in the

arena beyond

Such gesticulations would have been quite

of tittle-tattle
Classical

in the

spirit of

the Spanish Cori-ida.

Rococo
compari-

take us far
lively

These scenes of feminine confidences, away from the productions of

times.

Art

and society scandals, Such in any Age.

genre and the rococo atmosphere bring us nearer indeed to quite

modern

We

recall

such groups of fashionable spectators

cases embracing both sexes

as

in these

that depicted

in Tiepolo's

Fresco of the

reception of Henri III at the Villa Contarini,^ absorbed in their

interests, ofossiping-

own

social

and

flirtinof

under cover of

fans,

on the balconies above.

Analogous groups were executed by Pietro Lunghi in the Palazzo Grassi.^ So, too, the bevies of gay Minoan ladies seated in animated converse between the piers and pillars of the Grand Stand seem to reincarnate themselves in Guardi's modish figures, with high perukes feathered, bejewelled, smirking, and ogling their beaux, equally bewigged and powdered who fill l\\& paic/d of the Teatro San Benedetto,^ little concerned with the ball below. Similar scenes in the loges of the Theatre Fran9ais are depicted in a print of Moreau le Jeune,* where the company has the air of general detachment from the crowning of the bust of Voltaire on the stage before them, which they had

ostensibly

come to celebrate. These Minoan ladies, indeed, seated

in

in the interspaces of the

F.
Bell,

Grand

way and pointing

Tiiis

the direction of No.

3.

may be taken
in

to

show

that her

head was

turned
'

the

same

direction.

Keeper of the Fine Art Department in the Ashmolean Museum. ' Aldo Rava, P. Longhi, Plates 88, 89.
C.
'

Molmenti,

Tiepolo

(191 1):

Plates

196,

G. Fiocco, F. Guardi, Plate LXII.

'

197.
later

For the selection of these and other

comparisons
I

Couronnement du buste de

Vollaire

'

(see

am much

indebted to Mr.

Gazette des Beai/x Arts, 1903, p. 387).

THE SEATED LADIES: GESTURE LANGUAGE

57
But
seated
ladies

Stand present a marked contrast to the others from the fact that, so far as these posts of honour are concerned, there is no admixture of the other sex.

The phenomenon

itself points to

very different social conditions from those,

like

belong to
period of natural-

the above, taken

from the spectacles of the rococo Age. It seems natural to connect

it

ism
Art.

in

with a matri-

archal stage of society,

such

as otherwise

is

marked by the dominance

of

the

female
it

divinity.

Neither,

maybe
artistic

added,

is

there
in the

anything barocco
the

environment of Knossian groups

themselves.

They

be-

long onthecontrary toa

period of great natural-

ism such

in Art.

That the
ficial

pictures of arti- gesture

effect of Prominence of

Society

life

should out
only

language.

"^^^5^

be here brought
successfully

by

crafts-

men working

in

two dimensions is itself a remarkable perform2 3 ance. Such a result, The Seated Ladies Group E. indeed, could not have been attained had not the spoken word of the Minoans been largely supplemented and emphasized by gesture language. Even for a Southern people the constant recourse to gesticulation as
:

a substitute or reinforcement of speech that

we

witness in these Miniature

older gesture language of

groups must be regarded as exceptional.

Naples, perhaps, but certainly not

modern Greece, may

Hellas, such as

afford
it

some

parallel.

The

we

see

in

many

vase-paintings, has hardly received the

it

scientific attention that

it

deserves, but

certainly played a very secondary

58
That of Naples

NEAPOLITAN GESTURE LANGUAGE COMPARED

compared.

compared with what we see here. How far it may have been debackground by the reserved spirit of Greek art it is difficult to say. In any case there is a strong presumption that much of it had been largely taken over from the older civilized element that, even on the Mainland side, can now be shown to have dominated the chief urban centres till at least the thirteenth century before our era,' and whose actual tongue, in part ol Crete at any rate, survived for another thousand years. It may well be the case that Naples itself that abundant source for our modern knowledge of the subject ^ where, with Reggio, the Greek of Great Greece was last spoken on
part as
liberately kept in the

'

'

Italian soil, has preserved

an uninterrupted South Mediterranean tradition

of gesture language, derived on one side at least from a

Minoan

source.

The

gesticulation, however, as seen in these

Gestures
in signet

scenes primitive elements.

:

Women
in front

seats
freely

and

mixing
with men.

though sometimes pointed, is never violent. It limits of what is permissible in good societ)'. Our knowledge of Minoan sign language, as seen on the frescoes, is also supplemented by many of the scenes, at times extremely dramatic, on the engraved signet-rings. We are thus, indeed, led back to a very primitive Jiuman stratum, and I have even ventured to compare the attitude of the Goddess, for whom her attendant plucks a fruit from a sacred tree, with a widespread hunger sign and pictograph of the American Indians.^ The women, as we have seen, take the front seats in these shows and the non-admission of male spectators among them may well, as suggested, be a sign of female predominance characteristic of the matriarchal stage. But it was perhaps this very feeling of social superiority that enabled them in the case of the crowd below to mix freely with the other sex. Both are there deliberately grouped together, in a conversational relation. Although, moreover, on the other fragments we see them looking on, as it were, from the boxes of a theatre, there is no sign here of their seclusion
'

groups of Court ladies, does not over-pass the

Witness the Theban inscriptions, to which

call attention

(Naples, 1832).

The author

also attempts a

propose to

elsewhere, actually
jars of L.

painted on the
style

Kadmeian (XlVth Century b. c.)

M.
fall

Ill a of the
sur-

comparison with gestures on Greek vases, that might well be carried farther. Some of the
Neapolitan gestures given
those of the
closely

after the

resemble

Knossian Palace but demonstrating the

vival of the script of the

Minoan groups here reproduced.

is

Cretan Linear Class B.

of these will be given

But

in the

former case there

greater variety
is

Similar sign-groups occur, involving identity of

in the action of the fingers,

and the hand

Cult,

at

language.
in Vol.

Some account
of this work.

times brought up to the face.

^

IV

Myc.

Tree

and Pillar
xxi).

p.

79 and

Interesting information regarding the sign

Fig- 53 (/
'

H-

S.-,

See Garrick Mallory,

',

language of Naples

is

collected in the

work of
JMimica

Pictographs of the North American Indians

the Canonico Andrea

de Jorio,

La

degli Antichi, investigata nel gestire

Napoktano

Fourth Annual Report of Bureau of Ethnology, (t886), p. 236, and cf. p. 235, Fig. 155.

59

FREE INTERCOURSE WITH MEN

in

the Oriental,

or,

one

may

add, in the South European sense.

So

far

from being veiled their bosoms are at most barely covered by a diaphanous
tissue.

Perhaps, however, the most significant feature of the whole compo- Free
sition
is

the

way

in

which they

inter-

rub shoulders with the

men

in

course with men.

the Court below. Their busts are grouped together on the white ground necessitated in the case of women by the rapid artistic shorthand of this fresco process which is wedged in patches into the red ground conventionally used for the men. They are

clearly meant, however, to be in

varied positions

some

of

them

indeed confronting male heads

and they must not therefore be regarded as separate and selfcontained elements in the crowd,

but rather as units or groups of

one or two, mixing freely with the men.

Yeui-ow
Fig. 35.

_BuoE,

f^ED.

How

foreign
to

is

such free

in-

termingling

the

scene

pre-

Lady looking out of Balcony or

(Threshing Floor Area.)
little Sicilian

Chamber.

sented by an Eastern bazaar, or

to the spectacle that rises to

my

mind's eye, of the piazza of a

with

men

in their

black jackets,

town on a festival day packed without a woman's face or a streak of

Parallel

feminine colour
is reproduced in Threshing Floor Deposit on the borders of These are of the same scale, but must the same area as the Temple Fresco be regarded as belonging to some other parallel design. The subject, indeed, It shows a lady doubtless one of a group is a good deal on the same lines. depicted in the same style as those above illustrated, standing behind

Two

isolated pieces of which the restored connexion

' '

Fig. 35,^ were found in the

'

fragments

'.

from Threshing Floor

Area.
Parallel

p.
'

group

Repeated
of the

from F.

of M.,

ii,

Pt.

II,

stated, but in the

'

threshing floor

'

area to the

603, Fig. 376.

They were not found

',

in the

North of

it.

area

Miniature Frescoes

as

there

6o
on
iso-

WINDOW SCENES
casement behind
her,

a kind of paling in front of a balcony or box of

Structure, with a netted

lated

fragment.

some presumably theatral and looking forth at some spectacle in the foreground. Enough of her bent right arm and of the fingers of her raised left hand is preserved, as, combined with her bent right
arm, to suggest a gesture such as clapping the hands.
supporting post of this structure on the left, clearly intended to represent woodwork, is identical in its details and colouring with the upright

The

This parallel with appearance immediately the Temple Fresco is, moreover, enhanced by the left of this post of a man's face in profile and part of another outlined on
pillars of
'

the Central Shrine in the companion piece.

'

a Venetian red ground, and obviously forming part of a closely packed

Window
scenes.

crowd of male spectators like that seen on either side of the little Temple. Another fragment found in the fresco heaps to the North-West contains part of a closely related scene showing groups of ladies with highly elaborate coiffure looking out through casement openings formed of cross timbers. This, which is on a slightly larger scale, stands apart, however, from those above described, and belongs to a parallel class illustrated by fragments of scenes found at Mycenae in which ladies are seen looking out of windows. On the frescoes from the Megaron there, presenting the fronts of buildings which from the non-appearance of sacral horns maybe ordinary dwellings
^

of a secular character

single

profiles of

female busts, disproportionately

large in scale, appear at the windows.^

On

the fragment found near the

Grave Circle is depicted a broad window opening of the kind frequent in the Domestic Quarter of the Knossian Palace, divided into two by a central post, on either side of which fat women let their arms fall over the embrasure.^ Here the sacred character of the building itself is shown by the double axes stuck into the window-posts, in the same way as they are inserted in the
columns of the sanctuary hall, a section of which appears in the painted stucco fragments found in the Thirteenth Magazine at Knossos. The
identity of the structural features exhibited in the case of these fragments

which belong to the pre-seismic phase of M.M. Ill at Knossos, combined with the other resemblances, must incline us to refer the Mycenae fragments approximately to the same Age.

These window
'

scenes, as already shown, ^ find a

much

later parallel in the

Cf.

P. of M.,
cit.,

ii,

Pt. II, p. 602, Fig. .375.

d.

Pt. II, p.

60

r,

Fig. 373,

c.

coloured repro-

Op.

p. p.

601, Fig. 373,

Cf.

B.

S. A.,

duction of

this

was published by Rodenwaldt,

(igii), PI. IX, and
see

XXV (1925),

247

seqq.

and Plates XLII,

Ath. Mitth.,
p.

xxxvi

XLIII.
P.

222 seqq.
'

of

A/.,

i,

p.

444, Fig. 320,

and

cf.

ii,

P.

of M.,

ii,

Pt. II, pp. 602, 603.

KNOSSIAN LADIES CONTRASTED WITH KADISHTU

6i

bronze stand, from Old Paphos,^ while the Nimroud panels with a woman's head looking out of a window " carry the parallel still farther East. So,
too, the Biblical analogies

who

'

painted her face,

have been already cited, notably that of Jezebel and tired her head, and looked out at a window '.^
Cypriote,

The latter description certainly recalls some of these highly tired Minoan ladies. The Cypriote, Syrian, and Assyrian parallels have even suggested the question may we have here to do with temple prostitutes, like those of

and
^'biicai

'

Byblos or Heliopolis?
'

Had

the Cretan Goddess, too, her kadishtu and

?

hierodules

'

of the Oriental class within her sanctuaries

The plump dames

'

of the

Mycenae fragment and

the even ampler

Contrast

proportions of the luxuriously somnolent figures on the well-known ivory Knossian mirror handle,'' from the same site, might at least be taken to illustrate the lad'esand
.

results of

pampered

seclusion such as that habitual with the better class

'

Oriental 'hiero-

women

Southern countries. But these ladies of the Temple Fresco and its companion pieces can certainly not be regarded as the products of such a sedentary existence. Still less can they be conceived of
in certain
'

as a sacral guild apart, such as those dedicated to the obscenities of the

Their elaborate toilet is sufficiently explained by the festal occasion, and they have obviously taken their seats as much for social interMixing with other spectators, slim, lithe, course as to see the sports. vivacious, many of them were no doubt ready, according to the practice of
Syrian
cult.

Minoan girls seemingly, even gay jackets and flounced skirts

in

a good position in

life

to

exchange

their

for boys' loin-cloths

and

to step

down

into

the Bull-ring to take their part in the athletic and acrobatic performances.

In the case of the 'Temple Fresco'

itself

no remains have been

Presumpsports of

preserved of the lower part of the panel or possibly a lower band of fresco depicting the spectacle that the Grand Stand was designed to overlook,

b^'i-rmk

But a variety of converging evidence from parallel sources

T_U4. enlighten us.
It

is

at

hand

to depicted
in lower

p^^j f
^

has been already shown

'

that

among

the painted stucco remains

P^"^'-

from beneath the

'

Kasella

'

floors of the
A.
p.

Thirteenth Magazine
Athens

so important
the

Ibid.,

p.

602,

Fig.

374, and
in

cf.

S.

the

Museum
370)
hair

from
J.

same grave
{B. S. A.,
relief.

Murray,
Fig. 18.
''

.M. Excavations
Murray,
ix.

Cyprus,

10,

described
XXV,

by Mr. A.
369, short

B.

Wace

pp.

shows a similar

A.
2

S.

ibid., p.

10, Fig. 17.

Kings

30.

Grave Pit discovered by dromos of the 'Clytemnestra' tomb at Mycenae (Tsountas and Manatt, Mycenaean Age, p. 187, Fig. 82). Another in
'

From

the

and the equally short skirts Mr. Wace suggests that these and other Mycenaean ivories may have been imported
the

From

Tsountas

in the

from Cyprus.
'"

But short

skirts

themselves are

an M. M. Ill characteristic.
See P. of M.,
i,

pp. 527, 528.

62

SPORTS OF BULL-RING IN HONOUR OF GODDESS

from their ascertained M. M. Ill dating there was found, together with the fronts of columnar halls and sanctuaries, part of a fresco design showing a crowd of men above a wall ^ identical in style, on a slightly larger scale, with the throngs on either side of the Miniature Temple (see above, Fig. 15 b).

The
columnar
shrine.

though of still larger dimensions, was a design of the head of a charging bull showing beneath the horns the ends of the flying So, too, a fragment of painted stucco tresses of some acrobatic figure. found in the Ivory Deposit described below shows part of a coursing bull, in connexion with a miniature entablature of a shrine marked by the Double-Axe symbols of the Goddess.^ In other cases, as has been shown, the characteristic pillars that mark the Grand Stands are associated with boxing and wrestling bouts which, like the bull-grappling scenes that they also accompany, must equally be regarded as held under divine patronage. The central Shrine or little Temple (PI. XVI), which on the Miniature Fresco now under discussion marks the presence of the Goddess at the spectacles in her honour, answers in its arrangement to that of the little gold models from Mycenae, consisting as it does of a central cella of higher In this case, however, the fluttering dimensions flanked by two wings. doves of the wings the symbols of divine possession are replaced by a series of sacral horns, and the central compartment shows two columns, appropriate, it would seem, to a dual cult. The back wall of this central
In the

same

deposit,

'

'

section

is

of a kyanos blue colour, that of the lateral sections Venetian red

and ochreous yellow respectively, though whether these colours have a special religious significance, as they might have had in Babylonia, remains uncertain. Of the half-rosette panel below the central opening something has been The woodwork framing with which this was fixed and the already said. posts and beams of the structure are clearly marked by the brown colour. That this little building consisted of a central cell with two shallow columnar wings may be gathered by the existing traces already described of a similar shrine on the West fa9ade of the Central Court.^ In the present case, however, we see two columns within the central compartment, while the other structure had only room for one.

The 'Superposed
pos^eT
pillars of

Pillars' of the

Grand Stand.
architectural

^*

remains to

call

attention to

some other remarkable

features presented
'

by

Grand
Stand.
Ibid., p. 527, Fig. 384.

this fresco panel.

On
R.I

either side of the section, the

Cf. A. E.,

plans and elevation. Figs. 526, 527.

"

See below,

p.

207 seqq.
ii,

B. A.Journ., 1911,

p.

294 seqq.

'

See P. of Af.,

Pt. II, p.

804 seqq., and

THE 'SUPERPOSED
centre of which the
little
is

PILLARS'

63

occupied by

shrine, appears a stag-

ing consisting of peculiar col-

umns, the shafts of which,

contrast to the usual
practice,

in

Minoan
their

widen towards

base.

The upper and more

is

taper end of the lower shafts

socketed into an oblong block

enclosing'in
its

blue outer frame-

work

and black Superimposed on this disks. block is a column base from which rises a similar shaft, the taper of which continues that
a series of red

of the shaft below.

inferred that this, as

It

may be
in

shown
in

the restoration given

the

Coloured Plate (opposite page by a 47), was surmounted

similar block

in

this

case

true capital,

supporting some

kind of entablature.
this form,

The
left

re-

maining parts of the column of

seen to the
of the central section, are shown
in the

photographic reproduc-

tion, Fig. 36,

which also gives a

incised lines

good idea of the

on

the surface of the fresco.

It will

be there seen that the shafts run up the face of what appears to be
a projecting pier of masonry.^

This
'

pier

forms
that

a
the

platform
horizontal

Fig. 36.

'

Superposed Pillars of Grand Stand.

'

It

is

true

lines

analogy.

Their perpendicular borders separate

on
But,

the

piers

show

no

upright

divisions,

them

off

from the similar horizontal divisions of

Considering the sumdetails of this

and might therefore be interpreted

if

as steps.

the intervals, which otherwise correspond with

their eight lowest lines.

they are steps, balustrades at the sides

to

might have been expected according

Minoan

mary rendering of many

compo-

64
a
little

THE 'SUPERPOSED

PILLARS'
figures in

above the oblong block, on which are standing female

elegant pose and attire.

The
pillars

lacunas in our evidence prevent the completion of the structure,

but the fresco fragments supply remains for two pairs of such supporting

and piers on each side of the central Shrine.

It looks, therefore, as if

Between these

in either

case are seen lower terraces with female figures, sometimes seated, sometimes
standing.

we had

to

do with the supports of some

kind of roof or awning for the Grand Stands of spectators attending the

ceremonial show.
Parallel

Since the discovery of the

^,^(1

examples.

imposts of the

Temple Fresco several illustrations of pillars same character have come to light, all of approximately

contemporary date.

small bone model of an oblong capital of this type

occurred in a Knossian deposit.^ Single pillars of the same kind, as has been already shown, divide the boxing or other contests on a series of steatite rhytons and gem impressions found at Knossos, Phaestos, and Hagia Triada.^ The fullest illustration, however, is supplied by the relief on a fragment, apparently belonging to a 'rhyton', of grey steatite, found in the N.E. area of the Palace site at Knossos and illustrated in Fig. 37. Here we have a processional scene of youths bearing offertory bowls advancing on the level beneath an isodomic structure, parts of three piers of which are
'

'

seen stepping up.

The wooden

pillars with their rectangular

imposts are

placed at the intervals between the piers, to the framework of which they
therefore actually belong.
It is

impossible in the present state of our knowledge to explain the

Upward
[TJ's^s'and

and imposts. The position between stepped piers as seen on the 'rhyton' fragment in itself recalls the gaps once filled with massive upright beams between the bastions of the North Entrance passage. The distinctive feature of the superposed pillars is
precise constructive value of this system of pillars

^^^ fact that, unlike the typical

little
'

Minoan columns

their analogies.

ascends, the shalts

jiir-,m
Temple
'

as seen, for instance,

,,

in the
it

the circumference of which oraduallv erows Pfreater as

this case

become smaller

as tney

mount upwards.

Structural analogies for this system can, however, be found at Knossos

itself.

As we

see by the example of the roof of the Pillar

Room

in

the

sition

it

seems on the whole

safest to

suppose
faced
It
is

courses of masonry in the one case

steps in the other.
'

it is

hardly

that the lines represent courses of masonry, or

possibly sun-burnt brick

construction,

With the incised bone

in

inlay of

m/Va //V/V

with

stucco
for

imitative

of stone-work.

form
''

the

ventilating

shaft

South of the

awkward

a pillar to

have stood immeIf

it is

diately at the foot of a flight of steps.

Domestic Quarter. See F. of M.,

i,

p.

688 seqq.

THEATRAL PILLARS
Royal Villa
extent
its
^

65
of,

a split tree-trunk could be

made use

retaining to a great

taper form.

The

Corridor again that runs beneath the East wall

of the great Palace Hall adjointhe 'Domestic Quarter' shows the same system carried

ing

out

in

the

case

of
will

upright

timbering.

Here, as
PI.

be seen

from Suppl.

XXXV, , showHI

ing a section of M. M.

walling superposed on a massive

M. M.
in the

course, the taper form

is

of the trunk

clearly preserved

lower section.^
visible

The
these
'

function
pillars
'

of

Theatral
signifi-

superposed

in cance of
single
pillars in

the case of the

as part of

Temple Fresco, the Grand Stand,

and apparently as supports of some kind of roof or awning above the tiers of spectators at ceremonial sports in honour
of the Goddess, explains their
introduction
Fig. 37.

agonistic scenes.

beside

represen-

tations of agonistic episodes

on

Part of Steatite 'Rhyton' with Offertory Scene and Superposed Pillars.

the small reliefs and intaglios.

They
religious character of the sports.

are there the symbols of

the theatre itself and are introduced as indications of the ceremonial and
single Doric or Ionic

vases

those,
Vol.
ii,

too,

They find in fact an exact parallel in the column placed beside the scenes on Greek painted often of an agonistic nature and which stand there as

abbreviated indications of the Temple or the Stoa.

See

Pt.

II,

pp.

407,

408 and

and
the

at the

same time

to

maintain the whole

Fig. 235.
^

structure,
in

the interval originally occupied by

filled

Here, as in other cases,

order to pre-

woodwork has been

in

with ferro-

serve the record of the carbonized timbering,

concrete.

Iir.

71.
'

The Miniature Frescoes

2,

Sacred Grove and Dance.

The Sacred Grove and Dance' Centre of interest to left ; Self-absorption of the female groups ; The Dance separate performers ; Ritual Dance on Sacred Eye in background; Ecstatic possesIsopata signet; Ecstatic figures Philistine Prince at Dor ; 'Saul among the Prophets'; Dancer on Vapheio sion gem; Fresco of Dancing Lady in Queen s Megar on' mature L.M. I work;

'

group from Palaikastroa ring dance' ; Central object of the Grove and Dance' religious ; Aphrodite AriadnS ; Theseus and the Delian Crane Dance ; Both sexes included in later ritual dance ; Traditional Dances of Cretan peasants the 'Kastrinos &c. ; Secret Dance of the women ; Mazy course of Dances ; All Chain Dances ; Leaping Dance [Trr]8iKros xP^) tumbling Leaping Dance' of Cretan Apollo Delphi nios ; performance, as Homeric, Sigands and choral accompaniment Matinadas ; The Danci?ig Ground of Ariadne' at Knossos ; Its probable position and character as illustrated by Fresco ; Level site bordeied by old olive-trees, beneath E. slope of Palace ; The
Terra-cotta
'

'

'

',

'

'

'

'

'

'

'

Magic of the
Sacred Grove and
'

Spot.
in

While
:

the case of the

'

Temple Fresco
little

',

described in the preceding

itself,

Section, the central part, including the

shrine

was the most

fully

Dance

'

centre of
interest
to
left.

preserved, the bulk of the fragments of the companion piece, here entitled the
'

Sacred Grove and Dance

is

',

seem

to lie to the right of the point

on which

be seen that most of the crowds of spectators, have their faces turned to the left. The ladies, equally closely packed, whose heads are seen in the field above the trees are
the interest
centred.
It will

at least of the

male

sex,

Those seated in the front row, indeed, like the similar groups of the Temple Fresco form an exception to this rule, being entirely engrossed in each other's conversation and quite oblivious of the show itself The technique of this fresco and the scale of the figures correspond with the other,^ and we notice the same shorthand execution persons of both
nearly
all

gazing

in the

same

direction.
'

',

sexes being sketched respectively on broad backgrounds of their conventional

in with a single sweep of the brush. was drawn at my suggestion by Monsieur Gillieron, pere, according to a scheme gradually worked out by means of the fragments preserved. It cannot profess to do more than place them in a kind of logical relation to one another, but the general result will hardly be called in question. (See Coloured Plate XVIII.)

colours

red or whitewashed
restoration

The

'

See above, pp. 47, 48.

Missing Page

Missing Page

THE SACRED GROVE AND DANCE

We
numbers
whole
see here what seems to be a sacred grove of olive-trees
1

67
within The
spec-

a walled enclosure containing crowds of spectators of both sexes.

The

'^^'

may be reckoned as 350 men and 120 women. The men are naked except for their buskined feet, girdles, and loin-cloths. They wear collars round their necks, and long locks of hair stream down under their
armpits

in this section

of the

fresco

apparently

about a third of the

while

in place of the

double crest seen above the heads in the

companion

piece, they

show a

single curl

above the forehead.

In this case,

full-length figures of

many

of the male figures are given, the distinction

clearly indicated in the

between men and boys being

their respective statures.

group on the right by

They are

standing in serried crowds, and

the case in the

in excited gesticulation

those of the top rank are raising their hands and pointing towards some spectacle on the left. On this, as in the companion piece described above, the women occupy Selfabthe front places, and the same psychological distinction is drawn by the o^fei^'i'e artist between the two sexes. While the men are for the most part entirely groupsabsorbed in the performance and their eyes drawn one way, these ladies as already remarked, seem to have been as often as not taken up with their own affairs and to be exchansingf confidential remarks with one another. The special feature which distinguishes this representation from that with The the Grand Stands is that in this case part at least has been preserved of the separate performance for which the spectators are gathered. In the open space in P^'^' formers. 11 front, beyond the isodomic temenos wall -and- bordered by another diagonal q^,.^. grround are on'al line of similar wallinof on the rigfht, b aroups of women on a blue & r & & dance in seen performing what seems to be a ceremonial dance. Their hair streams walled enout behind them in separate tresses, in a manner that in some cases is clearly indicative of a quick rhythmic movement, and the attitude and arrangement of the figures as far as it can be reconstructed is certainly suggestive of such as is associated with the traditional a sinuous meandering course Knossian dance in Ariadne's honour. Their dress reproduces the fashionable cut of the ladies of the Temple scene. They wear short-sleeved jackets open at the bosom, diaphanous chemises, and flounced gowns, the prevailing saffron hue of which had perhaps religious associations.^ In nearly all cases they have one hand raised or held out before them, as in the act of adoraUnfortunately tion, towards some sacred personage or object on the left. the central point of interest in this direction to which the spectators turn is wholly lost. Some enlightenment as to its character may, however, be drawn
'

Temple Fresco

as

is

also

',

7.

'

Part of two trees found.

third

is

added

in the

scheme of

restoration.

See Vol.

i,

p.

506.

F 2

68

RITUAL DANCES
less

from the subject of a more or

Ritual

dance on
signet.

contemporary gold signet-ring found in the smaller built Tomb at Isopata near Knossos (Fig. 38).^ This displays a group of four female figures engaged apparently in They have long flowing locks and are a ritual dance in a field of lilies.
attired in the

same flounced robes Three of them

in

and short-sleeved jackets as those

of the
fresco.

raise their

arms as

the attitude the

central

of adoration,

while

somewhat higher figure, on a level, holds one arm to her side

and
lifts

the other to the side of

her head.

In the upper part of

the bezel, separated by a broken,

wavy
Fig. 38.

line
is

from the two dancers

a small female figure,

Gold Signet-ring, from the Smaller

Built Tomb, Isopata.

below,

short-flounced

an

archaic touch.

The wavy

lines
in

here are the equivalent of the

more elaborate waved

borders that

other cases delimit earth and sky, leaving a reserved space

for the divinity or the heavenly luminaries.

Here we must recognize the

of hair that

Goddess, one arm stretched forward to greet her dancing votaries the tress flies behind her head telling of her rapid approach from her
In the

celestial realm.

flying locks of

same way we have seen on another Knossian signet the upward an armed male divinity brought down by the incantations of
it is

his votary before a sacred obelisk.^

Ecstatic
figures.

Here, however,

not a baetylic pillar but the dancing

human

figures

themselves that are the objects of possession, the orgiastic dance, together
with the chaunts that accompanied
tion.'
it,

being the obvious vehicles of incanta-

The

religious intention of the

whole scene, moreover,

In the of
'

is

here brought

out by a remarkable though not unique feature.

field

behind the

dancers appears a

human

eye, which, like the

Eye

God' so frequently

seen

in

old biblical illustrations,

may be

taken to symbolize the all-seeing

^

presence of the divinity.

On
'

a clay seal-impression from the Little Palace

of the Double Axes
19 14, p.

we have seen

eyes,
&-x.

See

my Tomb

and
lo

'

See A.

E.,

Tomb of the Double Axes,

i,

Associated Group {Archaeologia,

seqq.).
''

I^Archaeologia, 19 14, p. 12).

*

I",

of

A/.,
ii,

p.

705, Fig. 529,

d,

and

re-

P. of M.,

i,

p.

160, Fig

115.

peated, Vol.

Pt. II, p. 789, Fig. 515.


ECSTATIC POSSESSION OF DANCERS
delineated as here in hviman shape, on the wings of butterflies
are
still
' '

69
Sacred

which, indeed,

regarded by the Cretan peasants to-day as little Souls and an eyed butterfly that hovers over the Elysian blooms on the painted stucco
relief of the Priest

eye in it is background.

King.

In the upper field of a signet presenting a religious

part,^

scene, in which the

Goddess and the young archer God take

we

find

again the eye, coupled with the ear, as a symbol of a Power both all-seeing

and

all-hearing.

The

ear symbol seems to recur in front of the dove on the

bronze votive tablet from Psychro.^

Ritual Dances and Ecstatic Possession.

On

a fragment of a black steatite rhyton from the site of Knossos

already illustrated,^

we may

recognize the

ecstatic

pos-

Ecstatic possession
:

session of a male devotee before the altar of the

Goddess
sacrifice,

a scene that recalls an episode witnessed by the Egyptian

Philistine

prince at

envoy

at Philistine Dor,

whose

Prince,

by means of
fit

Dor.

set off his chief

page into an

ecstatic

of dancing, in

which state he voiced the divine commands.* Saul We may infer from numerous analogies that the among sacrifice here was not without an instrumental accompani- the

ment such
bull

as the flute-playing depicted over the slaughtered

'

prophets.

The ecstatic state on the Hagia Triada sarcophagus. ^ of how Saul became produced recalls the biblical account Fig. 39. Ecstatic Danc- possessed of the Spirit of Jahwe when he joined the proing Figure on Vapheio Gem (f). cessional band of prophets coming down from the high place or sanctuary (baniali), preceded by harp, drum, pipe,
' '

'

'

and

prophesied with the others. In some cases, as on one of the Vapheio gems,'' we see a single female Dancer on Vafigure in ecstatic action (Fig. 39). She holds in her right hand what appears pheio
lyre, so that

he

'

'

gem.
1 ^ ^
'

P. of M.,

ii,
i,

ofM., P. ofM.,
P.

pp. 841, 842, Fig. 557. p. 632, Fig. 470.

Pt. II, p.

(Cambridge,

1923).

Dr.

Oesterley {pp.

cit.,

pp. 108, 109) points out that hebel, the

translated
'

word
the

ii,

614, Fig. 386.

company
'

'

of

prophets
'

in
',

The episode occurs in the account of the Mission of Wen Amon, in the Golenischeff
Papyrus.

A.V.

is

primarily a

rope

or

'

string

implies a procession in single

file.

He

and com-

On
i,

this individual possession, see

pares (pp. 58, 59) a

monument

in the palace of

P. of M.,

dove
' "

is

shown

pp. 223, 224, where the settled to be the outward sign of the
spirit into

Asshurbanipal, where a procession, the fore-

most

in

which are dancing,

is

led

by

men

entrance of the divine

the votary.

playing harps.

He

also instances the Hittites,

See above,

p. 39, Fig. 24.

on the rock
examples
single
'

relief of

Boghazkeui,
'

who

are in
'.

Samuel

x. 5

seqq.

For

biblical

file,

performing a running step dance

1889,
P!s.

of sacred dances and ecstatic possession see D.D., The especially W. O. E. Oesterley,

'E<^. 'Apx-,
;

166

X, XII, pp. 165, Furtwangler, Antike Gemtnen, ii, 45.

Sacred Dance, a Study in Comparative Folklore

^o
to

FRESCO OF DANCING LADY: 'QUEEN'S MEGARON'

be a
flute

and

raises the other

apparently holding
made

another pipe

above
Hagia

her head.
that

Her

hairy skirt might have been

of the skin of a victim, like

there showing

a short

tail

of the

female votary

who on

the

Triada sarcophagus is pouring the blood of sacrifice into the vessel set between the baetyllc Double Axes.^ On a gold signet from the same tomb
a similar orgiastic figure receives the source of her inspiration in the fruit of a sacred tree through the hands of her minister.
in this case

The

scene and the subject

the bezel of a gold

apparently had a funereal association.^

On

ring from the Phaestos cemetery another female votary dances before the

seated Goddess,
Fresco of dancing
lady in
'

who
'

is

backed by her baetylic

',*

pillar.^
.size,

The upper

part of a female figure, about half the natural

in

painted

Queen's
'.

MegaTon

here shown be that of a dancer thus individually inspired with ecstatic motion. She is clad in a jacket of the ordinary type and therefore cannot be regarded as a female taureador, since such wore only the loin-clothing common to the male performers.' Her hair, indeed, flies out on
stucco found in the
in the

Queen's Megaron

photographic

reproduction, Fig. 40,

may also be taken

to

each side of the neck,

tion that she
is

in a

very similar manner, but

in this case as

an indica'

whirling round in the dance.

in

thrown forward

an attitude

Her left arm is bent and her right resembling some of the figures in the Sacred
is

Danpe before
'

us.

Her

jacket, like those of the dancers there,

red, while across

of saffron

colour, here bordered

by blue and

her neck appears the

upper

line of a

diaphanous chemise.

From

the occurrence of the remains of

heap of stucco fragments near one of the dividing pillars of this Hall,'' it is highly probable that it had filled one of its panels, and in the coloured frontispiece of this Volume It will be seen restored
this fresco in a small
'

See F.ofiM.,
See

i,

p.

The male
^

offertory figures

438 seqq. and Fig. 317. wear similar skins.

p. 78

in

an orgiastic state throwing himself on his

knees,

my

Myc. Tree and Pillar Cult,

column.

and about to embrace the baetylic But the figure is clearly female, with

seqq.

and

Fig. 52 {/.If. S., 1901, p. 176 seqq.).

even excessive pectoral development.

*

The scene on another

cenae

gold signet from

MyP-

See below. Coloured Plate See

XXV,

facing

(op. cit., p. 79, Fig. 53,

and see

Fig. 91, parallel

370'^

below) must be regarded as of a

nature.

p.

212 seqq., and Fig. 144, and comii,

The dancing
cit.,

figure

referred to

by

pare P.

of M.,

Pt.

I,

pp.

34,

35

and

me, he.

regarded as
^

Goddess may possibly be a votary possessed by her divinity.

as the

Suppl. PI. XIII.

In the original Report {Knossos Excava-

L. Savignoni, Scavi e scoperte nella necro-

tions,

1902

B.

S. A., xi)

it

was suggested that

revised location

poli di Phaestos
p.

{Mon. Antichi,

xiv,
is

1904,

the fresco had been derived from the North

578, Fig. 51).

left

The

intaglio to

worn, but

Wall of the Megaron, but

is

its

the figure to the

seems

me

to

be that of

better

and more consonant with the circumits

the Goddess (marked by the pillar behind her)

in the usual side-squatting attitude of

stances of

finding.

See, on this, pp.

369-71

Minoan

and Coloured Plate XXV.

women.

It

is

described

{loc. cit.)

as a

man

FRESCO OF DANCING LADY: 'QUEEN'S MEGARON'

in this position, for

71
it

which the self-contained nature of the subject made

specially suitable.

Fig. 40.

Dancing Female Figure, from Queen's Megaron

little

'-

(From Photo, of Original.)

Mature
^'^-^^l

There can be

doubt that

this fresco

belonged to the same epoch of

re-decoration in this and the adjoining chambers as the spiral dado of the

bath-room and its connected system. It would therefore have been executed about the close of the earlier L. M. I phase and belongs to a date approachIt is therefore of decidedly later date than the Sacred Grove ing 1500 B.C. and Dance
'

'.

72
111

INDIVIDUAL POSSESSION OF DANCERS

these cases, where the mainspring of the action
is

the individual

extreme results is In still vividly illustrated throughout the East by the dancing dervishes. one form or another, indeed, the pas seal is the prevailing characteristic oriental amongdancers of both sexes, even on orpossession,
a class of performance which in
its

we have

dinary festive occasions that have

no religious
ficance.

signi-

In

many

such dances that

have witnessed the body is slowly

I

rotated

while
fleshy

its

more

sur-

faces are

made

to

quiver like a jelly

by intensive muscular action.

The
pos-

power of producing
this
is

sessed in an extra-

ordinary

degree

by Hungarian gipFig. 41.

Tkrra-cotta Model of Lyre-player, Ring Dance, and

sies.

Dove

Palaikastro.

Dancing of

this

individualist kind

a combined figure, and

may, nevertheless, be carried out by a series of performers so as to execute it is joint action of this kind that we recognize in
the scenes depicted on the Miniature Fresco and on the Isopata signet.

The
must

dance here

in

both cases

is

ex hypothesi of a ritual character.

One

or other

of the priestesses

may have
also
'

led the train, but the dancers themselves

afflatus.

be severally regarded as inspired with the divine

Chain or
ring
in

dances honour

chain' or 'ring' dances in honour of the Goddess which the performers joined hands may be gathered from the remarkable terra-cotta group found at Palaikastro (Fig. 41).^
in
^

That there were

Goddess.

R. M.
iii

Dawkins, Excavations at Palai(^B.S.A.,

X, p.

kastro,

217 seqq.).

The

Room 44 of thie large Mansion or Palace with vases of L. M. Ill a.

objects were found in

RING DANCE, PALAIKASTRO

Terra-cotta Model of Ring Dance from Palaikastro.
In this composition, which from the associated pottery can be

n
shown
to Terra-

have belonged
figure of the

to the early part of L. M. Ill, three female votaries are seen group with outstretched hands forming part of a circle round a central female p]".

same kind playing a lyre. The figures stood on a support and faced inwards, looking towards the musician.

flat

clay

kastro.

May

not the lyre-player be the Minoan Goddess herself under the same

aspect as Apollo Kitharoedos

whom,

as
?
^

we have
It is

seen, she in

some

sort

actually anticipated in a female shape

a noteworthy fact that her

sacred dove
figure, to

is

set

on the stand
ring.^

in front of her, in place of

another

human

complete the

group was intended to represent dancers in a ring and not a chain dance seems to be the more probable conclusion, the gap being left in front to give room for the sacred bird and to open out the view of the lyre-player here identified with the Lady of the Dove. The long dress of these figures preserves in a degenerate form traces of the bodice and apron of the earlier Snake-Goddess group, and must be
terra-cotta

That the

regarded therefore as representing a purely Minoan tradition.

Central Object of Performance on Miniature Fresco Religious Dancing-place of Ariadne '.
' :

the

In the case of the miniature wall-painting with which

we

are here con-

Central

cerned

we may conclude
turn and

spectators
'

that the central object of veneration to which the ?M^nia towards which the dancers are advancing, whether t}""^'
powrepresented a baetylic column
p. 98). It is
{^B. S.

All four figures are covered with a pale

slip,

A.,

viii,

Q3.nCG religious.

and the dress and features rendered in reddish brown paint.' The central figure, owing to the rude execution of the lyre, was there taken for the Snake Goddess. The true character of the object was first recognized by Vroiesso^ Mosso {The Palaces of Crete and their Builders, p. 282 and p. 283, Fig. 136). The lower
dery
part of the figures
transitional
is

nevertheless true that the figures

cylindrical

in

the fully developed

type

can

only be regarded as semi-anthropomorphic, and

that

we may
P.

legitimately recognize the reaction

of a columnar form.
'

.p/"/!/., ii,

Pt. II, p. 837.

Inthecaseof

the Cypriote and Cilician double of the God-

interesting as showing a

dess of Paphos (who

is

inseparable from the

this

form between the 'bell-shaped'

Minoan Dove Goddess),

Kinyras,
is

male consort,

and the L. M. Ill cylindrical type as seen in the Shrine of the Double Axes', A ridge already appears round the upper part of the skirt of the figure to the left (cf. R. M.
skirts of Petsofa
'

the

actual impersonation of the

It, its

lyre or kinnor.
'

too, could

be regarded as a

Beth-el

',

and

notes as those of a divine

voice.
^

Dawkins,
Pt.
I, p.

.ff. .S.

^., X, p. 218).

\x^

P. of M.,\\,
p.

Prof.

R. M. Dawkins observes
'

(op.

cit.,

342

expressed the same opinion, as

219) that
filled

the place

of a fourth
'.

votary

against

my

original

view that the cylinder

was

by the painted bird

'

74

THE 'CRANE DANCE' INSTITUTED BY THESEUS

animate or inanimate, iconic or aniconic, was of a religious nature. The composition cannot indeed be taken apart from its companion piece in which we see the theatral background of a parallel ceremonial show with the actual shrine, as a visible token of the divine participation, occupying the

central position.

Aphrodite

Ariadne.

have here in fact a ceremonial dance carried out in honour of the Minoan Goddess with whom may probably be associated her male satellite on the borders of her sacred Grove. When we recall the tradition that Daedalos had constructed a 'dancingground (xpoy) for Ariadne at Knossos, this conclusion is the more interesting. The Cretan Goddess, as transported under her Hellenic guise to Cyprus, was herself known as Aphrodite Ariadne, 'the exceeding holy V the name itself being a Cretan dialectic form. This Minoan Ariadne was specially connected with Amathus, whither, according to the local legend,^ Theseus had borne his spouse, and where was not only her Sacred Grove, but, in

We

'

conformity with the Minoan religious tradition, a Holy Sepulchre.

Theseus and the
Delian
'

For the

ritual
this,

dance on the other hand we turn to the Delian story.^ According to Theseus, arriving in Delos after his victory over the Minotaur, comit

Crane

dance.

Both
sexes in
later
ritual

Geranos or Crane dance. He first set up the image of Ariadne, the work of Daedalos ',* and the Keraton altar, the horns of Avhich were on the left-hand side, and round this led a xopoi of the boys and girls that he had rescued from the monster, imitating in its movements and the accompanying strains the inward and outward windings of the Labyrinth '. Recently discovered inscriptions have now brought to light the interesting fact that there was a fountain called Minoe in Delos, and that Minoid nymphs were there adored.'^ In one marked feature, indeed, the later tradition diverges from what we are able to learn from existing evidence with regard to Minoan dances. The ring-dance as we see from the Palaikastro terra-cotta was itself already

memorated

by

instituting the
'

'

'

'

'

'

'

'

dance.

in existence,

but

in this, as in

the more individualist dances such as

we

see

on the signets and on the Miniature Fresco, the dancers are all women. It is clear, however, both from the Homeric account of Hephaestos' design and
^

According
of

to the generally accepted interis

archos for the

^

name
ix.
lit.,

of Geranos, Pollux,
3.

iv.

10

1.

pretation 'Kpiahvr)

simply the Cretan dialectic

Pausanias,
Plut.,
op.

40.
C.

version

'Apiiiyvrj.

(Hesych. a8v6v,
is

dyvoi',

21 'Exopeuo-e
vvv
CTriTtXeiv

ixtra

twv

Kp^TEs.)

This connexion

valuable as pointitself.

rjidiwv
XeyoviTL,

;(opci'av,
ixiixrjjxa.

rjv

Itl

AjpYi'oi'S

ing to colonists from Crete

^

twv

Iv t<3 Aa(Svpiv6iii irepLoSmv

Paion of Amathus,
Plutarch, Theseus,

in Plutarch, Thesetcs,

KOL

8ie$6S<j>v,

cv

Td'i

pvBjXiZ

TrepLiXi^iLi

Kal

c.

20.
'

aveXiieis e\ovTL yiyvofxivrjv.

c.

21,

who

cites

Dikae-

See Vol.

i,

p. 2.

TRADITIONAL CRETAN DANCES

75

from the Delian tradition, that both sexes took part in the ceremonial dance performed in honour of Ariadne. It is thus that they are shown on the
celebrated Fran9ois Vase, the alternating chain of the liberated youths and maidens, preceded by Theseus playing the lyre, who acts as leader of the dance, while Ariadne stands in front and holds forth a wreath and the clue

of the Labyrinth.
in the

The intermingling of the two sexes, shoulder to shoulder, Court that forms the foreground of the Temple Fresco shows indeed that socially there could have been no objection to such mixed dances, but, as far as can be seen, Minoan religious practice confined the joint performances
'
'

to

women.
It

It is a

symptom

of a matriarchal stage.

seems possible that the change came about through Greek assimilation and adaptation of the old ceremonial dance, in the course of which much that had belonged to Ariadne was transferred to her male consorts to Theseus or, again, together with the Theatre itself, to Dionysos.

Traditional Dances of Cretan Peasants.

In

dance

adapted form at any rate a very fair idea of the original 'mazy' may be obtained from the dances still performed in the neighbourits

Cretan
dance".

hood of Knossos
Greece.

itself

and elsewhere by the Cretan peasants, who have

art,

a quite extraordinary gift for this

certainly unrivalled in the rest of

in the

Competent judges, indeed, place these Cretan performances

in the
'

highest rank of European folk-dancing.

Both

orchestra' of the Theatral Area, as already mentioned, and

with wider scope in the Palace courts themselves, dances were organized of

our Cretan workmen and their womenfolk on several festal occasions. In Fig. 42, part of a chain of dancing villagers ^ is shown, the leader of whom is seen to the left with raised foot while within sits the player of the lyra with a friend beside him.

Of the Cretan
ing Malevizi

dances, those of the Candia district and of the adjoin-

province

the
At
a
'

KaaTpivos-

and

MaXel3t(a>nKos

are

the
is

most
occurs

Kas"^"^-

elaborate and graceful.

certain dignity
in
is

the same

time,

though the motion

rapid, a

preserved throughout.

A kindred form, the SiTiaKos,

dance, but to the

East Crete.

This
'

is

seven-beat
'

'

West we

find the

UffTo^dXrjs, with a

five-beat

take part together.

spur of
'

Mount

Ida,

In these dances both men and women rhythm. But in the village of Anoja, situated on a Northern where primitive customs and costumes have been

Of Katalagari; inland of the site of Knossos. From the Romaic name of Candia, MtyaAo Kaa-Tpo. The modern inhabitants have re'

uncertain identification with an obscure sea'

on the basis port of Knossos Herakleion

named
the

town

of a

very

'.

76
preserved
in

SECRET DANCE' OF CRETAN GIRLS

an exceptional degree

the

opening dance at weddings

Here, too, at times, the
'

is

performed by
dance what
is

girls alone, the bride leading.

girls

known

as the fivariKos xP^ or

secret dance

'

in a

house by

-^..

_-.,^AiSaiHa^fe

Fig. 42.

Peasants dancing A'astrixos

Central Figure

plavinc;

Lyra: Knossos District.

Secret

themselves, played to by a

woman on

a violin while they sing their special

dance
of the

women.

[da-fiara)^ and on these occasions men are rigorously excluded. It would seem, indeed, that a male intruder might share the fate experienced by Pentheus at the hands of Agave, when he broke in on the secluded orgies

songs

of the
Mazy
course of dances.

Theban women amidst

all
'

the wilds of Kithaeron.

left

In

these cases the train of dancers

the sun or

widershins
'

'^

moves from to right against and follows a sinuous, meandering course, recalling

the Delian

dance. It curiously illustrates Homer's description of the dancers on the Shield of Achilles, turning backwards and forwards as a
'

Crane

'

Never, as in Melos, from right to

left

with the sun.

'

TUMBLING PERFORMANCES AT DANCES

potter turns a wheel. ^

77

The stnnged

instrument

is still

known

as the Xvpa,

and it is usual for the player of this instrument to be given a stool in the middle of the circle of dancers. This modern lyre' is very simple as compared with the Minoan forms (Fig. 44 at end of Section), having only three
'

strings instead of seven or eight.

' '

These dances are not strictly speaking ring-dances such as the terra-cotta model described above from Palaikastro seems to suggest, or such as may be witnessed still in the Slavonic Kolo

All

dances

'.

'

or

'

wheel-dance

'

but,

rather,

'

chain-dances

'

such as the early Greek,

in

companion take a very prominent part. In some cases in the West of the Island the dancers do not actually touch hands but are linked by means of kerchiefs. In the UrjSiKTos xopoy common on the Northern side of Mount Ida where the dancing is of a rougher and more primitive kind than in the towns, with
which the leader and
his

^iSlktos
'^

'"

comic touches, the saltatory character of the performance presents a curious conformity with Homeric tradition. The two men who lead the chain of Tumbling
dancers leap about before them with surprising
acrobatic feats of great
skill.

agility,

often presenting ances

as

very great, and

it is

not

The strength of some of the leaders is at times Hsnc an uncommon experience to see one of these spring
in the
file,

up and

set

one foot on the palm of the second

KvjSia-TrjTfjpe

raised aloft and, after

turning a somersault in the

of the Iliad^

air,

on which he is lands on his feet.

and,

These
in a

certainly recall the two

who accompanied

Cretans

way, led the ring-dance with their tumbling-feats and gyrations. still retain their ancient fame ^ for tumbling as well as dancing.
their acrobatic skill receives

The

On

Minoan monuments

an extraordinary

illustration

from the scenes of the bull-ring to be described below. It is this 'leaping dance' of which we already find a record in the Homeric Hymn * where Apollo of the Dolphin leads his Cretan crew towards
Pythian sanctuary, who stamp the ground to the strains of his kithara and sing native paeans in his honour.^ The Muse still sets sweet songs in
his
'

'Leaping
Cretan
Apollo.

//. xviii.
8'

599 seqq.

'
:

Athenaeus,
rj

v,

p.

i8i b tois ^ai oiv Kp?;Koi

p,

Oi

ore /iV Opi^acTKov

eirto-Ta/icVoicri iro^icrcnv

oiv

re

op)(r]aii

eTn^wpios
i,

ro

kvPuttSlv.

'Pcia/iaA.', (US oTi Tis

Tpoxov

ap/jiivov iv TraXd/jcrja-Lv

Pashley, Travels in Crete,

245, gives

some

'E^d/xEi'os Kf.pap.f.v'i TTupyjcreTai,,

^

aUe

6irj(Tiv-

modern
tumblers.
*

instances of the skill of the Cretan

//. xviii.

603 seqq.
xopov TrepatTTaff op.iXo^
avTOvi
Soio) St Kvfti<rTr]Trjpe ko.t

TToXXo^

8' IjjiepoevTa

Hymn
Ibid.

to

Apollo, 516 seqq. (see P. of M.,

Te.pTr6fx.ivoL'

ii.

Ft. II, p. 841).

^

poXTTTJi It is to

l^apxovTK i&Lvevov

KaTo, p.i(Tcrov'i.

Oi

8e prjo-irovTi^ k-rrovTO
Xlvdio Kal IrjiraLrjov auSov,

be observed that in the ancient dance as here described, the 'tumblers' perform in
the middle of the ring of dancers.

K/d^ts

tt/dos

o'ot re KpryTwi/ Trairjoves,

oW re Mowa

In the

iv a-Trjdea-a-Lv edqxe Ota. fi.(Xiyripvv aoi^-qv.

Cretan

ttt^Siktos

the leading

is

more

direct.


78
the

THE 'DANCING PLACE' OF ARIADNE AT KNOSSOS

'

'Siganos'

bosoms of the Cretan dancers, but the longer chaunts usually accompany a slower form of the dance known as the (xiyavds. These choral songs may
in

and
choral

part represent a survival of the vtropyjiiiaTa which Lucian speaks of as

accompani-

specially Cretan lays,

sung

to the lyre in the sacred

dance of Delos.^
to the

Such

ment.

a song

often of impromptu
The word

composition, allusive, topical, with capping of

rhymes and clever

The
'Mati-

transitions of subject
itself is

is

known

modern Cretans

nadas

'.

borrowed from the Venetian matinata,'^ since they often begin after the morning Celebration, especially after marriages. At times, too, the festivities that they accompany begin after Vespers or, at Easter, after Midnight Mass, and owing to the gentle motion of this particular form of dance both the lays and the dancing are often kept up well into the
as
fJiaTLvdSa.

small hours of the morning.

The
'

It
'

is

clear that,

whether we take Aphrodite Ariadne herself or the

at

Dancing

Ground
of Ari-

Sacred Grove and

altar of Delos,

Tomb

Amathus
find

or the 'Crane' dance and horned

they are but reflections of the earlier aspects of the cult

it

adne.

of the

Minoan Goddess such as we

enclosure
it

in

Knossos.

Nay

more, in the

walled

of

the

Miniature

Fresco and the ceremonial dance

in

enacted within

may we

not recognize a living presentment of the actual

'Dancing Ground of Ariadne, wrought by Daedalos

according to the Homeric tradition
shield
?

'broad Knossos'

we not here which Hephaestos chose as a model for that upon Achilles' the famous xP^
In other words, have
.''

AaiSaXos

TJaKrjaif

KaWinXoKafioi

'ApidSvrj^

The

walled enclosure with the dancing women, of which

we have here
prepared

a fragmentary glimpse, must surely represent

for such a purpose.
Its probable

some space

artificially

That
on a slope,

this
it

space was not simply one of the Palace Courts

is clear,

from

position

the fact that

was not bordered by buildings but by an

olive grove rising

sat.

and
character

in

the shade of which the crowds of spectators stood or

existed in the
i6,

We

as

illus-

may
'

infer

perhaps, from the fresco composition that, whatever

'

artificial

trated by fresco.

element

may have
Trtpl

Dancing Ground',
Venetian
;)

it

was

largely suppleBut the

Lucian

Spx^o-euii c.
:

says of the

from
is

ofxa^i,

a gathering.

Delian sacred
</)OyU,va

p^opos

to,

yoiii'

tois xopoL's ypa-

word

itself

unquestionably the Venetian

reasonable to suppose that

Tovrois

aapara vTrop^^fxara eKaXeiTO

rj

koI

'matinata'.

Bearing in mind the large Venetian

it

ip.7r7rX'q(TTO rCov TOiovroiv

^

Xvpa.
i,

leaven in Crete
p.

is

Pashley, Travels in Crete,

a

246 seqq.,
this
'

these compositions themselves are partly due

to

who has preserved

writes
it,

song
'

of

kind,
(as

Venetian influence.
like

The

influence of love

strangely proposes to derive

/xaSiraSa

he

epics

Erotokritos

suggests

a reflection

though the Cretans take over the

of Tasso.

WHERE WAS THE ANCIENT DANCING PLACE?

merited by the natural features of the
as far as
site.

79

In this respect the arrangement,

than the associations of the arena devoted to the bull-grappling and other sports, as illustrated by the
less artificial

we can

judge, was

much

Fig. 43.

Old OtivE-XREES beneath East Palace

Slope.

Grand Stands and Columnar Shrine of the companion piece. Here at most we see a low isodomic wall bordering the orchestra, and another apparently
running diagonally from
it,

while the top of a third wall appears in one place

above the spectators. The dancing floor itself may on the other hand have been well paved. That it was placed in the immediate neighbourhood of the great Palace may be reasonably assumed, and an ideal location for it may well be found on the river flat overlooked, above an intervening bank, by the Eastern walls of the Palace. On the borders of this, again, a little

8o

THE MAGIC OF THE SPOT

Royal Villa' the special amenities of which beside well-watered glen have already been described.^
'

to the North, stood the

this
Level
spot with old olives

Diluvial changes, in

some cases due

to exceptionally destructive floods

beneath
E. slope of Palace.

such as in places have rolled great tree trunks and rocks over a wide space beyond the actual river-bed make it hopeless to recover on the flat itself the enclosure once, no doubt, skilfully laid out as a dancing floor by the Minoan architect of whom Daedalos in this case inherited the fame. But the borders are still overgrown with fine olive-trees, their gnarled trunks divided above but of a girth below that tells of great age. Convenient access to this spot was secured in Minoan times by a postern gate and staircase leading directly down from the Central Court to the East Bastion. Over the lower slope, where the remains of the Palace walls still stand, line behind line, and the steep bank below them in which protruding blocks may be here and there detected the evening shades creep early. Often enough, indeed, they tempt some little shepherd, homeward bound with his goats from the neighbouring hamlet, to seek a short refuge here from the outer glare while he plays a strain of old-world music on his native

pipe.

The
magic
of the spot.

fail to wake more distant echoes in the and the magic of the spot calls up visions of the festal scenes once enacted on the level flat below shut in, beyond, by the murmuring stream where the immemorial olive-trees still spread their boughs. Fitfully, in the early summer, there float and poise in the sunny spaces between the

Those

eerie notes can hardly

listeners' ears

trees

swallow-tail butterflies, saffron, fringed with blue, like the robes of

if

the dancers on the fresco, as

they were in truth the

'

little

souls

'

of those

gay

ladies.
^

P. of M.,

ii,

Pt. II, p.

410 seqq.

Fig. 44.

Cretan Zi-^: Anoja District.

;
'

The Miniature Frescoes 3. Fragments of Siege Scenes and 72. Analogies supplied by the Megaron Frieze and Silver Rhyton of Mycenae Egyptian Parallels.
: '
'

Miniature Frescoes depicting Siege Scenes ; Antiqidty of theme in Egypt and Crete; Warriors hurling javelins on Knossian fragment ; Youthful Spearman ; Fragment of building, probably belonging to same subject ; Sacral horns not conjined to Shrines ; Female figures visible in opening beneath entablature ; Correspondence of structtore with faience House fronts ; The Megaron Frieze at Mycenae scenes of assault ; Warrior precipitated in front of wall prototype of Kapaneus ; A nalogiesfrom Egyptian siege scenes ; House fagade on crystal tablet obliterated by workman ; Section of outer wall on Tylissos fresco ; The Silver rhyton with Siege Scene from Mycenae Shaft Grave ; graphic character of design ; Historic import ; Restoration of rhyton
'
'

'

'

'

in conical form

Continuous design
City

land,
'

sea,

and
'

conventional reticjilation

for

Minoan character The besieged its gate and towers Separatefragment with su-perposedpillars and Sacral horns ; Non- Minoan
shallozvs
;
'
'

element, however, am-ong inhabitants

natives ivithin the walls

Shields of Minoan type ; Shock-haired Friendly native allies, some arriving by sea ; Ship;

wreck and sea monster

throwing-slicks,

Hostile barbarians with primitive weapons

;
^

stones,

and

among

defenders
;

graphical data

Native friendlics' better armed ; Minoan element The relief a historic record ; Topoin boat ; Presumptio7is in favour of Anatolian Coast; Slings typical

warriors
;

clubs

Asianic zveapons

Clubs also traditional ; Archers paralleled by Knossian

small relief ; Pictorial style, akin to that of Miniature Frescoes ; Anticipations of Scenes on Shields of Achilles and Herakles ; Besieged stronghold traditional in Egypt example from. Fifth Dynasty Tomb of Anta its

dramatic

charactei'' ;

Middle Empire examples

Empire; Was

there a

Minoan

Sensational versions of New reaction on Egypt? Cretan Miniatiire Art

;

supplies link betiveen

Early Egypt and Epic

Frescoes
'

tradition.

Among
relation
is

the

'

Miniature

derived

from the
it

Httle

Corner

'

Minia-

Sanctuary described above, certainly the most important in their historic

a small group of a warlike character, implying,

would seem, an
connected

Frescoes' depicting
scenes.

attack on

some fenced
in

city.

We
design as
iii.

have not here the same elements g

for reconstructing a

the case of the former subjects illustrative of festal and cere-

82

THEME OF THE BELEAGUERED CITY

But there
is

monial occasions.

sufficient

comparative evidence available to

show that these fragmentary remains had formed part of the same kind of
composition as that already represented

by

the

earlier

Town
in

Mosaic, the theme of which,

one shape or another, was the Beleaguered City.'^

'

Antiquity of the

theme Egypt and

Crete.

in

It is a theme already old Egypt before the close of the Early Kingdom, later versions

in

were traditionally set forth on the shields of Herakles and Achilles, and immortalized Neither in in the Tale of Troy.
of which
the case of the faience

mosaic,

nor in the

'

Miniature fresco frag'

ments before
ner
this
in

us,

have we more
Fig.

than a hint of the special man-

which the

artist dealt

with

-15. Warriors hurlixg Javelins; Miniature Deposit, Knossos.

time-honoured subject.
'

small reliefs of the silver

Happily, however, we have at hand in the rhyton from the Fourth Shaft-Grave at Mycenae
'

much fuller source from which to draw for ofaMinoan stronghold. Other somewhat
a
the frieze of the
Warriors
hurling
javelins.

at least

one version of the siege

later analogies are supplied

by

Mycenae Megaron.
small disconnected pieces depicting the upper outlines of

Among some
It will

two against a blue ground are shown in Fig. 45, a, b. be seen that they are hurling javelins upwards, as against enemies on battlements above." The javelins are painted orange which, however, need not imply that shafts as well as heads were of bronze. Some seem to be
serried ranks of warriors,

already thrown and to be

lace or torque,

fl)

ing through the

;

air.

The

warriors' heads

show

well-marked curving crests of hair

they wear, as usual, some kind of neck-

and the upper outlines appear on Fig. 45, b, of the heads of two more warriors belonging to a second file ^. As in the case of the male
it is

spectators in the scenes already illustrated,

clear that the troop to

which
yet

'

See P. of J\I.,

i,

p.

301 seqq. and p. 314.

garon

Frieze

'

of

Mycenae had been

to the

The importance

of this feature was already

S. A.,
vii).

discovered.
^

noted in
silver

my

first
'

Report {B.

The
cited,
'

Owing

to

damage due

Earthquake
missing.

rhyton

from Mycenae was there

the traces of these have mostly disappeared.

but neither the

'Town Mosaic'

nor the

Me-

Two

fragments of the scene are

now


WARRIORS ATTACKING WALLS
they belong was
the 'shorthand'
in

83

dense formation

an arrangement, moreover, which suited

Youthful
spear-

method of the Miniature fresco painter. A separate figure of a youthful warrior resting his left arm on a spear is depicted in Fig. 46 on a slightly smaller scale, against a white ground. His long locks of hair,
which fall over both shoulders, descend almost to the knees in
front,

and a

clear white field

is

seen before and behind him on the fragment presenting this design.

In the restored sketch,^

is

Fig. 46, he

made,
raise

in accord-

ance with the slight indication

preserved,
to

his

right

hand, like an officer giving

command

to his troop.

some In some
'

respects his attitude resembles

that of the
'

Young

Prince

on

the Hagia Triada Cup.^

In addition to the fragments

displaying light-armed troops

Fig. 46.

who may compare with spearmen and bowmen of

in
all

Officer

Miniature Fresco Figure of Youthful Miniature Deposit, Knossos.

;

the
the earlier
to
this
'

Town

Mosaic

'

there must

be
Fig.

also,

probability,

assigned

composition a fragment,

47,

belonging to an architectural subject, but which does not seem to have any connexion with the companion panels. This, indeed, was at one time Fragment of thought to supply a missing section of the entablature of the central building

compartment of the little Temple between the Grand Stands as seen in the Coloured Plate XVI. The sacral horns above, the general coloration, the intervening white band, and the red and 3'ellow bars of the border above are obvious points of correspondence. But, as already shown, this
'

'

probably belonging to

same
subject.

identification with the missing section of the Shrine cannot

be maintained,^

and there is every reason to suppose that the entablature of its central compartment corresponded with that of its wings. Nor, as a matter of fact.
^

By Monsieur
See P. ofM., In

E. Gilli^ron,
ii.

fils.

Gilli^ron, pfere, the fragment, Fig. 47,

was

in-

"
'

Ft. II, p. 791, Fig. 516.

troduced.
waldt,

The

error,

exposed by, Dr. Rodenin

my

original publication in

Myc. Tree

has

been
Plate

corrected

the

revised

and
the
first

Pillar Cult {J. H.S., xxi, 190 1, p. 193, Fig. 66) the entablature of the central cella of
little

restoration of the fresco in the

Candia Museum.
the proper

The Coloured

XVI also shows

Temple was

rightly restored.

In the

reconstruction of the entablature.

reconstitution of the fresco by

Monsieur


'

84
Sacral horns not confined
to shrines.

ARCHITECTURAL FRAGMENT

do the sacral horns on the upper coping of the present fragment by any means necessarily imply that it formed part of an actual shrine. There is more than one indication that the copings of the Palace walls were set with similar horns. The remains of the great limestone horns found below the old S.W. angle of the buildings had doubtless fallen from its a exterior line on that side smaller stucco example from the N.W. corner of the Central Courtwas clearly derived from the edge of an interior roof-terrace. Sacral horns could mark any
' ' ;

'

residential building belonging to

Minoan

lord

who

also performed

sacerdotal functions.

In the case

of the siege scene on the

'

Mycenae
in con-

rhyton
will

'

very important

nexion with the present subject

be shown below ^ that one particular part of the fenced city

it

there depicted
character,

bore

religious

and exhibits the consecrating horns upon its walls. If, as it seems reasonable to
Fig. 47.

Architectural Fragment from Area of Miniature Frescoes'.

'

suppose,

the

little

'

Temple

composition
cally

in

which
side,

it

occurs, with the

'

formed the centre-piece of the Grand Stands ranged symmetri'

on either

structure.

An
in

reproduced
Female
figures
visible in

no room is left in the design for another similar important feature observable in the architectural fragment Fig. 47, is indeed incompatible with the idea of its repre-

senting one of the usual columnar shrines.

There are here

outlines

in fact traceable

beneath

the

entablature,

certain

black

which unquestionably

opening beneath
entablature.

denote female locks.

After a careful re-examination of the visible traces.

Monsieur Gillieron, fils, has restored within the opening a group of female heads (see Fig. 48, d). This arrangement calls to mind a simpler analogy in the house-front of the Megaron Frieze at Mycenae, where large single heads of women appear at the windows (Fig. 48, c).
' '

'

F.

of

A/.,

ii,

Pt.

I,

pp.

159,

160,

and

'

See Vol. IV.

See below,
p.

Fig, 81.

'

92 and Fig. 51.

CENTRAL PROJECTION OF BUILDING

The
setting of the entablature

85

shown
us,

in

Fig. 47, immediately under the

it

upper border of the frame, enables

moreover, to infer that

represented

the highest part of a building of the same character, with a central prominence

typical

Minoan pattern of wide

' .

application.
'

This is the prevalent form in House Tablets of the faience mosaic, and it is interesting to note that the fa9ades of the buildings of which we have the fragmentary remains in the 'Megaron Frieze' of Mycenae, and which
there form part of a later version of the scene of the
'

...

Corre-

spondence
ure with 'house-

Beleaguered City',

may be regarded

Thus the house, restored as a survival of the same type. by Dr. Rodenwaldt, and reproduced in Fig. 48, e, seems to be evolved in its main features, such as the quadruple grouping of its windows as well as its upper projection, from the simpler version supplied by the 'House Tablet', Fig. 48, t. The rows of disks again on this Mycenae fagade are These disks, a constantly reconstantly repeated in the faience tablets. curring feature in Minoan architecture, are in most cases merely a decorative and superficial reminiscence of the round beams that supported floors and roofs, and are often shown where no beam ends could really be. It is worth noting that the columns in the window openings of the wings of the Mycenae fagade. Fig. 48, e, with their mid-wall shafts have now found a parallel in those of the tower-shaped terra-cotta stand from Gournia, belonging to the close of the Knossian Palace period (L. M. 11).^ This tower, which seems to belong to the castellated st) le, including round turrets, illustrated by the Zakro sealings,^ is surmounted by sacral horns. The Mycenae fagade, on the other hand, which is connected with a battle'

designs ^'"
frieze',

^""'

',

scene,

is

without them.

But, as pointed out above, the horns appear in

part of the structures depicted in the siege scene of the

Mycenae rhyton
'

',

on the fa9ade, of which a part was preserved among the Frescoes cannot be taken as a proof that it did not belong to Miniature a town which was the object of hostile attack. As shown in Fig. 48, d, this fa9ade is otherwise most naturally restored on the large single heads of women the lines of that from the Megaron Frieze being here, as we have seen, replaced by the heads of whole groups of female

and
'

their presence

',

'

'

onlookers.
In the military movements connected with the'
'

Megaron F"rieze' at Mycenae,^

Miss

J^.

of M., ii, Pt. See Z'. ^i^., i,

I, p.

139, Fig. 70

bis.
/'.

excavated by the British School,

W.
PI.

p.

308, Fig. 227, a,

'

See G. Rodenwaldt, Fragmenie Mykeni-

Lamb, B.S.A., xxv, p. 214 seqq., XLII, XLIII, and restored Section

Plates
in

scher Wandgemiilde {Ath. Mitth., xxxvi, 1911,

p.

XXVII.

For the fragments

originally
'kp-^.,

found

222 seqq.) s.nA

Der

Fries des Megarons von

additional
material

by Tsountas in 1886 see

(XIpaKTiKa, 1886, p. 73).

'E(^.

PL XI

Mykenai, and,

for

the

86

HOUSE FAgADES: COMPARATIVE VIEW

a-c,
e,

Fig. 48. Comparative View of Minoan House Fa9ades with Central Prominence. Faience Tablets ; d, Restoration of Fragment from Area of Miniature Frescoes Restored Fragments of 'Megaron Frieze', Mycenae.
'
'

the warriors present a considerable contrast to

those of the Miniature

fragments from Knossos.

These,

too,

hold spears or javelins, but they

are clad in short tunics in the Mainland fashion, and wear peaked helmets.

SCENES

;0F

ASSAULT

87

certainly of leather, for they are strengthened with rows of boars' tushes,' Megaron

and with cheek-pieces attached. Neither here, nor in the other case, do the warriors bear shields, but they wear gaiters on their legs. On this later work they are associated, however, with chariots and horses, the manes of the horses being tied up in tufts in a manner identical with those on the inscribed clay tablets of Class B belonging to the concluding phase of the Knossian Palace. It is probable, though owing to the fragmentary
nature of the materials the evidence as to this
is

con^^[j'^'^

scenes of
O CCQ lilt'

wanting, that the chariots

tablets, in

were of the
fitted

later

'

dual

'

class

shown on the
its

a posterior extension of the body,

which there is framework resembling a spanned bow

frieze a warrior
is

with an arrow.

On
above.

one section of the Mj^cenae

e),

seen in the act of Warrior

fafed^in f""""' ^

falling before a building (see Fig. 48,

while traces of a chariot horse appear

Rodenwaldt has appositely compared the falling warrior with one seen below a chariot in a relief of the battle of Kadesh (Rameses 11).^ This precipitate fall into space, as it were may, however, be itself of still more ancient tradition, since the incident of figures falling from battlements and walls already appears on Egyptian versions of siege scenes.* The episode recalls that of Kapaneus struck down from his ladder by the bolt of Zeus when he sougfht to scale the wall of Thebes. The Town Mosaic so far as Minoan Art is concerned, supplies It dates from the the prototype of the subject of the Beleaguered City M. II 6, or the very beginning of M. M. Ill cr.^ But an important close of M. though evanescent piece of evidence tends to show that similar inlaid com-

proto-

Kapa
"^"s.

giesfrom Egyptian
siege scenes.

'

',

'

'.

There

is sufificient

evidence that helmets

possible that the

his

fitted with

boars' teeth also existed from

;

an

Mycenae own mind connected

upper zone.
\, -p.

fresco painter in

the falling

figure

early date in Crete

is^c, p. 67.
'^

of.

A. Yi.,Prehistoric Tombs,

with the war-chariot of which

in the

we have

traces

See

my

remarks on the evolution of the

dr'c., p.

P. of 31.,

305, and

cf.

pp. 301, 302.

It

Minoan
*

chariots, Jiing of Nestor,

32

is

there recognized that the

'House Tablets'
deposit
that

seqq. (J.If.S., 1925).

lay in

a somewhat ill-defined

G. Rodenwaldt, Fries des Megarons von

cf.

might belong either to the M. M. II b phase

or
to

Mykenai, pp. 55, 56 and

deir Eg.
*

Rosellini,

Mon.

M. M.

Ill a

small

vase

of which

I,

Pt.

ii,

PI.

CIII.

period was certainly found in the same deposit.

See below,

p.

104 and Fig. 58.

effect.

"

Such

is

the pictorial

One

recalls

tablets
'

In any case architectural details on these fit on closely to those of the early
Terra-cotta Shrine
',

the relief on an ash-chest of Volterra on which

the date of which from

fall
cit.,

Kapaneus,
of

grasping his ladder, falls in front

its

association must certainly

within the
i,

the

local

Porta

dell'

Arco,

substituted

limits of

M. M.

II b (see op.

pp. 305,

there for Electra's Gate at Thebes.

But

it is

306).

88
positions in

PART OF WALL: TYLISSOS

more precious materials continued M. M. Ill Palace.
'

to

be reproduced to the

close of the
House
fagade on
crystal
tablet.

Among
far

debris excavated beneath the South-West Palace Angle, not

from the borders of the

seismic

South House
towards

',

and

resulting, probably,

from the

great

disturbance
Ill
^,

the

close of

M. M.

workman brought

out an oblong plaque of rock crystal which

he handed over for my observation. It was about the size of the smaller of the

'House Tablets',

and,

on

its

underside,

painted in very fine black outlines on a white

ground, was visible the fa9ade of a building

with isodomicmasonryresemblingone of the
house-fronts of the
finder took
it
'

Town Mosaic

'.

The
it

out of

my hand

to place

temporarily with other small finds from the

same deposit on
before setting
it

a neighbouring block, but

Obliterated by

workman.
Section
of outer wall on Ty lis SOS
fresco.

down, gave the object a vigorous rub between a horny finger and thumb to clean the glass as he expressed it. It was effectually 'cleaned' and the house obliterated In addition to the remains of Miniature frescoes from Tylissos, already referred to Part of Building, Fig. 49. as relating to a pugilistic show, there are Tylissos. two unpublished fragments from that site placed with them in the Candia Museum, and which seem to belong to one another, that deserve mention in the present connexion (Fig. 49). These exhibit a building of isodomic masonry and rectangular construction, including traces, on its extreme border, of a window with several cross-bars. This does not seem to be designed for spectacular purposes of the Grand vStands, but may more naturally be regarded as like those It belonging to a house forming part of an outer wall of a stronghold. have been an upright post on the right of the is evident that there must barred opening. It is curious, however, that it should have been at the
'
'

angle of the wall.

We

may

reasonably conclude that, as at Knossos, both these subjects

in

belong to a composition illustrating

one form or another the time-honoured

theme of the besieged

City.

THE SILVER 'RHYTON' WITH SIEGE SCENE

'

89

Silver 'Rhyton with Siege Scene from the Fourth Shaft Grave at Mycenae.

to

But much the most complete view of such a beleaguered stronghold is be seen in the repousse reliefs of the tall silver rhyton from the Fourth Shaft Grave at Mycenae. Incomplete as it is, this vessel
'

Silver
^vith
^^,^^^6

'

in all probability

imported from a Knossian

.

atelier

has supplied
1 1

much
r
TVT-

the from
Mycenae.

most
Art.

historic

representation to be found in the whole range 01 IVlmoan

/-

This

is

not a conventional version of a traditional idea of a siege scene Graphic

of design,

but a record of somewhat complicated episodes, either actually witnessed, or as graphically described in some epic source. obtain both
in general,

We

ethnographic and geographical items of information, with side incidents such as the shipwreck and the appearances of the sea dog among the swimmers.
' '

We

see before us the barbarian attack on a civilized settlement inadequately

garrisoned, with every kind of dramatic contrast

naked or half-clad warriors on the one side on a rock-girt shore, on the other a hill city, displaying

Minoan
from
Its

architectural features, with fashionably dressed ladles looking forth

This is a historic piece in the modern sense. The sensational incidents and picturesque local touches are very much those that a special artist of our own day might seize upon, who had accompanied an expeditionary force sent out to relieve the pressing need of some Colonial outpost threatened by a native rising. The silver vase-fragment from this Grave,^ representing part of the beleaguered hill city and Its defenders, was found to stand In relation to The reliefs themselves are executed In other pieces of the same vessel.^ repousse work on silver plate, and had been previously sketched in with incised lines that do not always correspond with those of the finished
battlements.
design.

Historic

Remains of the pointed extremity

be a 'rhyton'.
'^

of the vase clearly proclaimed

it

to Restora-

Parts of the gold-plated bronze rim, with shield-shaped 'rhyton'

m coniThis
fragment was
not
described

by

Schliemann,
the surface.

owing to the bad condition of The reliefs were first noticed by

of the design

Waffen (1894 ed.), and ed., p. 164 and

is

p. p.

143,
13.

Fig.

17,

b,c,d; calform.

One

of these {b)
;

that

shown
(rf)

in the

Kumanudes, and a drawing

cleaned at the Athens

when

another

is

middle space of Fig. 50, c the uppermost portion of Fig.

f)

Museum
was

executed by
published
2. is

51 below.
that

In another (17

Reichel thought
chariot,

Monsieur E.

Gillidron, pfere,
'Ap;(.,

first

he made out part of a horse and

with
the
scale

by Tsountas, 'E^.
p.
I r

1891, PI.

and

but this has not since been recognized.

confusion

Some
which

seqq., but the lithographic

copy

unfor-

work

of

tunately inaccurate.

Reichel was unaware

him.

may have here misled

Three additional pieces were published by W. Reichel in his work Ueber Homerische
"

go

SILVER 'RHYTON' WITH SIEGE SCENE RESTORED

it

bosses below

on being pieced together were seen to stand in relation to a curved handle, also of plated bronze, that rose from it, like that of the tall conical rhyton of steatite found at Hagia Triada, exhibiting bull-grappling and boxing scenes. Unfortunately, however, this obvious
similarly plated,
'
'

Condesign^-

was not perceived by the then Director of the Museum, Dr. V. Stais,. when, on the basis of the existing fragments, he carried out a restoration of the vessel, though he rightl)' recognized it as belonging to the rhyton class. It thus emerged from the restorer's hands as a bulging and lop-sided funnel,^ both uncouth and un-Minoan, and in its telescoped form incompatible with the development of its figured designs. That the vessel belonged to the elongated conical class of rhytons could not be doubted and, at my request. Monsieur E. Gillieron, fils, executed with his usual skill and acumen the restored drawings here for the The body of the vessel is first time reproduced ^ (Fig. 50, a, d, c). 33-5 centimetres high (131 in.), and has a diameter of 13 cm. at the mouth. The H. Triada example is c. 42 cm. high and 15 cm. wide at the mouth.
parallel
'

'

'

'

'

'

^" ^^^
itself.

land, sea,

In the latter case and that of other

method of applying the decoration the silver 'rhyton' stands by more fragmentary steatite speciinto zones, each with
far as
it

ventional

tfonTor shallows,

mens the vessel is divided Here the composition, as

rock-work at
besieged
its

its

separate frieze of

reliefs.

is

possible to judge, formed one con-

tinuous design, starting from the corallines and the reticulated conventional
base,

of open sea, to
hill city

and interspaces the purely natural delineation of the central theme the
up, with a

and working

wavy

coastline

seen above.
the

The

contrast between the reticulated relief work, so richly decorative

in its effect,

that ascends
it

body

of the vase, with the level surface

embraced by
of the
'

that stands for the sea recalls, in a different sphere, the

reserved spaces of sky that open behind the variegated over-arching rocks

Blue Bird

'

fresco.^

The

conventional network

itself,
it,

symbolical, not

only of rocks, but, as

finds
'

we

see by the

swimmers above

of the shallow sea,

an even more direct analogy in the painted design on a pear-shaped rhyton from Pseira,* where dolphins appear in the interspaces.
'

'

V.

Stais,

Catalogue de la Collection

My-

have to thank Mr.

A.

J.

B. VVace, then

cinienne (1915), pp. 223, 224,

Mitth. (1915), VII, VIII.

Ath.

p.

and Plate; also seqq., and Plates 45

a,
b, c),

Director of the

British

School, Mr.

R.

M.
in

Dawklns, and Dr. G. Karo of the German

Institute
this
'
^

for

their

valuable

co-operation

The

restored drawings (Fig. 50,

work,

together with Figs. 51-54, were executed for

P. of M.,
/iJ/a'.,

ii,

Pt. II,

Coloured Plate XI.

(Seager, .E^irawa-

me
Dr.

(with
Stais),

the kind

permission

of

the

late
fils.

p.

509, Fig.

312,/

by

Monsieur E.

Gillieron,

tions at Pseira, p. 29, F1g. 10).

Fig. 50.

Silver

'

Rhyton from Fourth Shaft Grave, IMycenae

'

restored

(J).


'

92
besieged City its gate and
:

MINOAN CHARACTER OF BESIEGED CITY

Of
the town itself

The

we have now two important

fragments, the smaller

towers

noan

more recently discovered. That to the right, enlarged to twice its scale in Fig. 52, shows the isodomic outer wall and towers stepping up the slope and a doorway composed of upright trunks, like that of an exterior bastion
that appears

character

among

the faience

tablets

of the

'Town Mosaic

'

The

group of towers, here seen rising above the

the

walls, at

same time recalls the castellated building on the upward slope and summit of a height, apparently with an outer door and window openings, depicted on a Zakro sealing,^ though the towers there have
a rounded appearance like the terra-cotta round-tower

from

Gournia.^

Like

the houses

of

many

of the

faience tablets the

windows show upright

at

divisions.
is

The

slight projection of the

coping of the walls

also

found at Knossos, and

traceable the horizontal

various points there are

traversing- the

wooden beams *
a

isodomic masonry

such

characteristic

feature

in

Minoan
Separate fragment
with super'

construction.

A
tural

more curious
is

parallelism with

Minoan

architecFig. 51.
'
'

forms

presented by the later discovered frag-

Fragment

posed
pillars

and
'

sacral horns'.

ment placed a little to the left of the other in Fig. 50, a. SHOWING Superposed Pillars and Sacral Here again we see the upper part of walls with a Horns. similar coping, stepping up in this case towards the left. At the same time the superposed pillars with which the walls are associated cannot but recall the typical Minoan arrangement, well illustrated by the Grand Stands of the Miniature Temple Fresco described above, ^ in which a wooden pillar, with an oblong capital of a peculiar kind, finds its prolongation above the architrave in another of the same kind. It is true that in the present instance we cannot trace the upward tapering shape of pillars of this class, but this may very well be due to the diminutive scale of
'

'

the present
^ ' ' *

reliefs.

P. o/M., See
ibid.,
ii,

i,

Fig. 226,
p.

facing p. 306.
a.
bis.

Certain
traces,

i,

308, Fig. 227,

horizontal lines, of which there are drawn here across the masonry may be

Ibid.,

Pt.

I, p.

139, Fig. 70

due
the

to

some misconception
part.

of such

beams on
to

Reichel in his sketch of the large fragsiege scene,

artist's

In

the structures

the

ment of the

Hovierische

Wajfen

right of the bastion the horizontal

s

woodwork

(1894 ed.), p. 142, Fig. 17, inserts very definite cross-beams in the bastion on the left. But
the very careful drawing

clearer.
^

See

above,
cf.

made
to

for

me by
out.

Plate,

and

p. 47 seqq. and Coloured P. o/M., i, p. 689.

M.

Gillieron,

fils,

fails

bear

this

Fig. 52.

MYCENAE Fourth ohai Grave, FROM FOURTH SH^FT Silver khyio ON c,T wTTTj Rhyton Siege Scene
'
'

(I).

E. Gillieron, fils.

94

FRIENDLY NATIVES AND HOSTILE BARBARIANS

The superposed
'

pillars

'

are here set beside openings containing

must
'

certainly be recognized as
',

what somewhat summary representations of the

sacral horns

a feature which points to the sanctuary character of the

building.

above the battlements ^ shows the same bristling hair as the native combatants on the companion piece. Amongst those above the battlements on the larger fragment, the figure But gesticulating on the left seems to be of the same shock-headed type. the woman on the right of this and, apparently, another higher up, is distinctly Minoan in her attire, while the indications of the dress preserved suggest the usual short-sleeved jackets, low cut in front. She is derisively displaying her charms to the assailants, while others repeat a similar mocking gesture, accompanied by cries, as is shown in two cases by the open mouth. On the other hand the woman to the right of the lower group, with her head turned in that direction, seems to be shouting and beckoning to the relief
fiofure

The male

here seen

rising-

party arriving from the sea.

Nonelement however,
inhabi^^"'^'
'

It is interesting to

observe, however, that, while both in the case of the

'

Mosaic and of the scene on the silver rhyton the buildings themselves represent Minoan architectural forms, and we have evidence of armed Minoan defenders in the latter case, there is also an element of an exotic kind. In the Town Mosaic' we find it in the Negroid figures, though what part they may have played in the composition remains uncertain. On the rhyton the naked slingers and bowmen ^ seen beneath the walls, though certainly fighting on behalf of the besieged, clearly belong to some extraneous race, since they are not even girt with the Minoan belt. This does not necessarily imply, however, that they were in a state of mere savagery, since, as we know, the most doughty warriors among the Ancient Gauls fought almost naked. Besides these slingers and bowmen there appear, immediately below the gate of the stronghold, two combatants of a less well defined class, holding
'

Town

',

'

'

'

each a spear, which

fallen stones
^

is

in

each case indicated by an incised

foes.^

line, like

the

and throw-sticks of the barbarian

The

shields themDr. F.
p.

The lower

figure in the smaller fragment

is

prostrate figure of a

wounded man.
2nd
ed.,
is

with

bent head and arm

more

difficult

Noack
to

i^Der schone Alensch,

61)

to interpret.
^

The
left

sex itself

is

uncertain.

suggests that the rest of the figure

supposed
hill,

To

the

in the

same

line as the
bristly hair

bow-

be hidden behind the

'

profile of the

men

are seen the

head with

and

They

are not, as suggested in Tsountas

(^Mya'iiacan Age, p.
'.

upper part of the body, also nude, of another

and Manatt

214),

'

mere

man, of whom,
below.

however, no traces appear

scratches on the surface

The
',

shields there

Dr. K. Miiller regards this as the half-

are interpreted as 'short cloaks

and the men

MINOAN TYPE OF SHIELDS

selves
right

95
Shields of
type_

approach

of

which a strap
a

is

seen over the

left

shoulder of the figure to the

known Minoan type

its

of oblong semi-cylindrical form,

^

showing a projection on
generally appears in

upper border

(see

Fig.

53).
in

This

type

profile, as it is

borne by the lancer

the scene of

combat on a gold signet-ring from the Fourth Shaft Grave at Mycenae, but on the inlaid dagger-blade depicting the lion-hunt its whole outline is visible.^ It seems to have had a considerable vogfue in Crete, since helmeted spearmen with shields of this shape occur on more than one lentoid beadseal, of inferior and probably Late Minoan work, found in the Island.''
It
is,

however, to be observed that while

except

in

the case of the

lion-hunt on the dagger

the

f^
a

spearmen who

bear these semi-

wear helmets Minoan shape, the two comof

cylindrical shields

batants here seen beneath the

gate are distinguished by bare

Fig. 53. SE^n-CYLiNDRic.4L MiNo.'^N Shield Types.

heads with bristling hair identical in appearance with that of

the

Siege Scene on 'Rhyton'; b, Inlaid Daggerblade (facing) c, ON Lentoid Bead-seal, Crete d, ON Lentoid Bead-seal, Siteia, Crete.
a,
;

bowmen and

slingers.

'

shock'

man, of

whom

the bare upper

haired bar-

part of the

body is visible above

''

within the
ills.

the topmost parapet on the fragment

shown

to the right, has bristling locks

of the same kind.

is

The

enlarged photographic copy of this given in Fig. 51

profile, incised

interesting as

showing the original

by the

artist

but not

followed.

The

locks of hair here are, indeed, so upstanding as to have

suggested an identification with the feather crests of certain heads on the

Phaestos Disk, and

in

turn with the

feathered head-pieces of the later

Philistine invaders of the Delta

on the Pylon of Medinet Habu.'^

this sugges{Cat.

Taken

in

connexion with these representations as a whole,

the elders outside the
city,
is

thus compared with

gates of the besieged

in

the

British
77,

Museum
cf.

Engraved

as

in

Hesiod's

Gems, No.

and

A.
5).

S.

Murray, Revue

description
245, 246).
shield borne
fact,
^

of the shield of Herakles (lines But the right-hand telamon of the

to the right
is,

ArckeoL, 1878, PI. 20.

also of cornelian,

Another specimen,
resembling
1896.
this,

much

was

by the figure quite clearly shown.

in

noted by
possession.
* ^

me

in

Siteia in
in Crete

similar

intaglio also

found

was

in

Mr. Seager's

See on

this class of shield

Reichel, tjber
p. 8.

Homerische IVaffen (ed. 1894),

rightly recognized the shields
as

Reichel
'

Repeated from Vol.

i,

p.

668, inset.

on the 'rhyton

H. R.

Hall,

Note on the Phaestos Disk

In
i,

variants of this form.

*

{/.U.S.,

xxxi,

1911, p. 119 seqq.).

my
668)

See below,

p. 121, Fig.

7L
loc. cii.)

observations on the Disk {P. of M.,

I

p.

'

One

of these (cited by Reichel,

was inclined to accept

this suggestion.

96

SWIMMERS PURSUED BY DOG-HEADED MONSTER

be maintained, but the appearance of the similar figure on the wall-top must be taken to imply that the racial element to which these shock-haired warriors belonged was also included in the population of the
tion cannot

besieged town.
Friendly
native
allies,

It looks,

however, as

if

some of the native defending force were

arriving

by
ing

sea.

Three of
their

some
arriving

the archers belongto

by

sea.

ranks
with
that

are seen, in

fact,

one foot beyond the

curvinsf
line

shore, marks the leaves us to which

suppose

that

they

are in the act of dis-

embarking
the
Ship-

through

shallow water.

The native mariners,

seem in part to have been frustrated by a storm
moreover,
at

wreck

and sea
monster.

sea

an
'.

episode

illustrated

on
of

the

lower zone
'

the

rhyton

There
swimtheir

here

appear

mers making

way over the shallow

sea towards the land
Fig.
5-J.

(Fig. 54), pursued,

it

Swimmers pursued by Dog-headed Monster. (Scale-work representing Shallow Sea.)

would seem, by the same dog-headed monster the Minoan Skylla whom we see attacking a skiff on a seal-impression from the Temple Repositories at Knossos.^ Its head appears to the left of Fig. 54. These friendly natives who come to the assistance of the besieged,

'

K. Mtiller {Jahrb.

d.

Arch.

Insf.,
'

xx\,

sea as well as rocks.

For Minoan swimmers

p.

322) speaks of these figures as

men

climbis

ing

upwards

'.

But

their frog-like attitude

characteristic of swimmers,

and the network

an interesting illustration has been supplied by the inlays on the Vapheio dagger-blade described below (see pp. 127, 128 and Fig. 81).

pattern, as already noted, stands for the shallow

PRIMITIVE WEAPONS: THROWING-STICKS AND CLUBS

97

and who are thus represented as already arrayed on the slope beneath the walls or in the very act of landing, shout their defiant cries with open
mouths.

None
in

of the attacking figures

front

Hostile

immediately

of

them have
primitive

been
r

preserved,
,

but

their

^ith primitive

weapons,
stones.

missiles

lie

the air in
sticks.

about or hurtle through the shape of stones and throwfigures,

Some naked
belonging

however,
stone-

apparently

to

the

throwers

may be

discerned
(see, too,

on

the

fragment, Fig, 55

Fig. 56).

Two

of these seem to be engaged in

picking

up stones.

The

lower

part

of a prostrate figure seen on the field

Fig. 55.

Stone-throwers collecting
:

Missiles

E. Gillieron, fils.

(-f

above may be reckoned among the dead or wounded and part of another with an upraised arm turned left may be beckoning to those behind.-'

The rounded

or partly angular objects scattered

among

the defenders Throwsticks.

may be

taken to represent the stones thus hurled,

In others of more elongated shape

recognize throw-slicks of a the Australian tombatp'

the sea border, as
if

we may certainly form much resembling

These are seen mostly on they had been specially directed

Clubs,

against the relieving force.

Another small fragment, of which a drawing. slightly completed by Monsieur Gillieron, is reprojduced in Fig. 56, shows parts of two men armed with '^^ must - -

nemy
;em

to

ERRATUM
Page 97, footnote,
for ^vdi^ofjie TrXoia read Pvdi^oiiiva irXola.
;

them2.

Sgyptian
ited

ted that

be signs
'^

See

my

remarks in J. H.
Scripta
lie

S., xiii, p. 199,

n.

wa, and

Mima,

i,

p. 2, n. 4.

Since

puts forward the curious view that the objects are

script.

of an

unknown

Sp.

Mar inatos

these missiles

about they could not have

been boomerangs, returning to the thrower's

III.
]

foundered ships /3v0i^6fj, prows ('Apx- AeA.T., 1926, p.

'

'

TrAoia-

with

high

81).

96

SWIMMERS PURSUED BY DOG-HEADED MONSTER

on the

tion cannot be maintained, but the appearance of the similar figure

wall-top must be taken to imply that the racial element to which these

shock-haired warriors belonged was also included in the population of the

besieged town.
Friendly
native
allies,

It looks,

however, as

if

some of the native defending force were

arriving

by
ing

sea.

Three of
their

some
arriving

the archers belongto

by

sea.

ranks
with
that
shore,

are seen, in

fact,

one foot beyond the

curving
line

marks

the

which leaves us to suppose that they

are in the act of dis-

embarking
the
Ship-

through

shallow water.

The native mariners,

seem in have been frustrated by a storm
moreover,
part
to at

wreck and sea

monster.

sea

an
'.

episode

illustrated

on
of

the the

lower zone
'

rhyton

There
swimtheir

here

appear

mers making

way over the shallow

sea towards the land
Fir.

-4

(Fig. 54)

"

would
skiff

same do
on
i

head app

The
'

K. Mt:

p.

322) spe;

ing

upwards

'.

But

their frog-like attitude is

characteristic of swimmers,

and the network

the inlays on the Vapheio dagger-blade described below (see pp. 127, 128 and Fig. 81).

pattern, as already noted, stands for the shallow

PRIMITIVE WEAPONS: THROWING-STICKS AND CLUBS

97

and who are thus represented as already arrayed on the slope beneath the walls or in the very act of landing, shout their defiant cries with open
mouths.

None
in

of the attacking figures

front

immediately

of

them have
primitive

been
the air
sticks.

preserved,
lie

but

their

Hostile natives with primitive

weapons.
Stones.

missiles

about or hurtle through in the shape of stones and throwSome naked figures, however,
belonging
to

apparently

the

stone-

throwers

may be
seem up stones.

discerned
(see, too.

on

the

fragment. Fig. 55

Fig. 56).
in

Two

of these

to

be engaged

picking

The lower

part
field

of a prostrate figure seen on the

FiG. 55.

Stone-throwers collecting
:

Missiles

E. Gillieron, fils.

(f

above may be reckoned among the dead or wounded and part of another with an upraised arm turned left may be beckoning to those behind.^

The rounded

or partly angular objects scattered

among

the defenders Th rowingsticks.

may be

taken to represent the stones thus hurled.

In others of more elongated shape

recognize throw-sticks of a form

the Australian iombat?

we may certainly much resembling

the sea border, as

if

These are seen mostly on they had been specially directed

Clubs.

against the relieving force.

Another small fragment, of which a drawing, slightly completed by Monsieur Gillieron, is reproduced in Fig. 56, shows parts of two men armed with clubs which, as they are facing to the right, must
probably also be reckoned among the enemy's Fragment showing Naked Barbarians armed forces. Like the other barbarians they seem to WITH Clubs E. Gillieron, have been wholly nude.
Fig. 56.
:

fils.

(y)

The combatants on
hand.

the spot then divide themthrow-stick

' Reichel's interpretation of this figure as a stone-thrower is impossible since the head is But I am in agreement turned to the left. with his explanation of the stooping figures.

See

n.

iia,

my remarks m. J.H.S., and Scripta Minoa, i, p. 2,

lie

xiii,

p.

199,

by Egyptian an elongated 2. Reichel (pp. cit., p. 142) had suggested that these and the smaller figures might be signs of an unknown script. Sp. Marinatos puts
used
duck-hunters

The

resembled

n. 4.

Since

these missiles

about they could not have

forward the curious view that the objects are foundered ships fSvBi^ofjii -n-Xola with high
'

'

been boomerangs, returning to the thrower's

III.
1

prows ('Apx-

AeA.T.,

1926, p. 81).

98
Native
friendlies

A HISTORIC RECORD
and
hostile natives.

selves into two parties of friendly

is

The

latter of these, as

better

shown by

their

armed.

clearly belonged to a lower stage of culture.

weapons, throwing-sticks and stones and wooden clubs, The others, though they
artificial arms such as slings and bows, by the third from the right, are of the Asiatic

mostly fight bare-limbed, possess more

which, as
is

best evidenced

horn type.
class,

Two

of them, moreover, not only bear shields of a

but hold spears that

may be presumed

to

Minoan have had heads of bronze.

Minoan
element

third element, apparently purely Minoan,

among
defenders warriors
:

the parapets of the citadel

finds

like the jacketed ladies on an imperfect record on the lower borders

in boat.

That a war-galley was there shown by the appearance of three peaked helmets and the upper figure of the steersman who grasps the end of the steeringHe is wearing a short-sleeved tunic a garment of which oar behind. examples are known from Crete as well as Mainland Greece, and the crest
of the larger piece depicting the siege scene.

approaching the shore

is

flowing behind his peaked helmet gives the idea of the

rapid

forward

motion of the boat.

The

crested helmet

itself,

in

that case without an

earpiece, recalls those of warriors on

triple horizontal divisions visible

Knossian seal-impressions, and the

repeat the usual type adorned with

on

all

rows of boar's tushes.^

There

is

a strong presumption that

we have here Minoan

warriors, dis-

patched for the relief of some threatened outpost of Cretan dominions overseas, and who have arrived in time to reinforce the hasty levies of friendly
natives,^ either belonging to the

the coast.
The
relief

The
a

town itself or to neighbouring parts of Equally with these allies they are the butt of barbarian missiles. subject of the whole design is thus the relief and delivery of some
a barbarian onslaught from

historic

Minoan outpost outside Crete, hard pressed by

the land side.

record.

As

already observed,
it

it

is

a real record, and whether

we

commemorates on the European or the Anatolian side, brings into strong relief the superiority of the Minoan civilization at the beginning of the New Era whether in Crete itself or
place the
' '

moving scenes that

'

The

best

known examples
'Ecj>.

of this type

can see no grounds

d.

for

K.

Miiller's

are from Mycenae,

'Apx; 1888, PI. VIII, 12, but there seems no warrant for the conthat

view {Jahrb.

Anil.

Inst., xxx, p.

321) that

they are hurrying to surprise the defenders of

the besieged stronghold in flank.

clusion
feature
{A/i'/i.

they

are

special

Mainland
Nilsson

They
'

are

advanced
Jl/jr.

by

Prof.

Martin

rowing counter to the direction from which the

barbaric enemies attack and, like the
lies
',

Religion, pp.

19, 20).

Traces of

friend-

the rows of boar's tushes, somewhat summarily

indicated, are visible on Cretan representations, and boar's tusks occur in the Minoan tombs of
Crete.

are exposed to his missiles.

Reichel's sug-

gestion {op. r//.)that they are 'pirates'

whom the

defenders are trying to beat back

is

equally irre-

concilable with the elements preserved to us.

PROBABLE SCENE ANATOLIAN COAST

in

99

some

part of the Mainland coast tract, East or West, that

to
it

may

already

have been assimilated

by successful conquest

over that

of the native
Topodata,

races that occupied the coasts and hinterlands of the

As
as
if

to the local geographical conditions

Aegean basin. we have some hints. It looks

the stronghold on the height, round which the story centres, stood at
inlet,

the end of some sea

shut in on one side by a headland of which the

obtuse end can be traced

in the

lower section of the funnel, bordered by the

reticulated convention of rocks.

On

this

promontory trees are

visible

which

may

be probably identified with some kind of pine, while, in the immediate neighbourhood of the town itself, are others in which, by the light of similar Minoan representations, we may recognize olive-trees an evidence of the advance of civilized culture. But if these events took place on the Aegean coastlands,and we can hardly go farther afield, on which of them was this scene enacted ? The topographical conditions, illustrated by the rock-girt inlet of sea, might answer, indeed, to those of the Eastern littoral of the Morea, but are we justified in supposing that at the epoch to which the rhyton belongs the latter half

Presumpfavour of
Qoast"''^"

'

'

probably of the sixteenth century before our

at

era,

when

the

Minoan settlement

Mycenae was already some generations

old

there

could have been such

an abrupt contrast between the native culture and that of the ruling race ? Our knowledge of the indigenous background in a large part of the overseas regions is still very insufficient in most directions, but such evidence as we can control regarding the equipment of these native elements, seems to point rather to the Anatolian side. The use of the sling, though said to have been introduced into Greece

Slings

by the Aetolians, is more characteristic of the peoples of Hither Asia, as it What seem to have been slingwas of the Phoenicians and Assyrians. of haematite and other stones occurred abundantly at Hissarlik,i and bullets at a later date slingers appear on the coins of Aspendus ^ and Selge ^ as representing a typical Pamphylian and Pisidian arm. The club is essentially a barbaric weapon, and, though of wide primitive usage on the European
side,

/slanic

weapons,

Clubs
ditionaT

has a special tendency to survive

in

a religious connexion in the old

'

Schliemann,

Ilios

(Engl, ed.),

pp.

436,

a local usage as well as a play on the name.

'

438,
*

and

Figs.

609-19.

Ibid., PI.

XXXIX,

10-13.

The name

of

B.M.

Cat.

Greek Coins of Lycia, FamPI.

Selge in variant forms shows the same equivalence with the Greek
inscriptions
o-TAtyyt's (sling).

phylia,

and
p.

Pisidia,

XIX,

Figs.

12-15,

The
are
f.

and Plates XX, XXI.

remarks,
Ixxii.

Cf. Dr. G. F. Hill's

STAEriYS,
-p.

STAEFION

The

repetition
to

of

the

found.

See Inhoof-Blumer, Zeitschr.

v,

Nu-

'slinger'- type

must be taken

represent

mismatik,

i32seqq.


loo

PARALLEL WITH KNOSSIAN ARCHER

It

Carian regions.

occurs on the Phaestos Disk

'

ex hypothesi of a sacral

S.W. Anatolian provenance while on coins of Comana we see it in the hands of Ma, the great Asianic Goddess. So far as can be gathered from the somewhat sketchy _|'r(2^/'z on the vase, the throw-sticks bore a greater resemblance to modern hockey sticks than to the mere crook traditionally used by shepherds in Classical times to
character and of a
fling at

hares

the

pedmn
'

or XaycojSoXof attributed to Pan.

'

The
bow was
hands,^
Archers
by'^Knossian small
relief.

use by the
is
'

friendlies

here of bows of the

'

composite

'

or horned

Asiatic type

not

itself
'

conclusive since, though the primitive European

of the

plain

kind, the other form already appears in Late

into native usage.

Minoan

and may have thence passed

figures

The

of the archers kneeling on one knee, coupled with the

I'^ticulated

ornament, standing for rocks, below, afford a close parallel to

a relief on a fragment of a steatite vessel found to the North-East of the

Palace

site at

be mounting a conventional rocky steep, while the lower part of the other leg extends below a horizontal bar that may well be the border of a boat. He would, in this case, be in the act of landing another parallel with the bowmen on the silver rhyton who, as
forward knee
is

Knossos (Fig. bent, seems

59, p. io6).'
to

Here the

archer, however,

whose

'

',

noted above, seem to be

shallow water.

in the act of

disembarkino- with one foot in the

is clad with the Minoan belt and on the Mycenae dagger-blade,* and

The
'

archer on the Knossian fragment

like those of the lion-hunters

shorts

',

apparently wears a helmet with cheek-pieces.

exceptional appearance of having a pointed beard.

He

has,

moreover, the

Attention has been already called to the conformity of the structures on the smaller piece of the silver 'rhyton', showing superposed columns and sacral horns in the intervals, with the similar stepping structures on another small steatite relief from Knossos, probably belonging to the same

kind of vessel.
'

On

the coins of the Carian island of Kos,

be placed, as here,
axis.
*

at right angles to its vertical

as well as of Selge in Pisidia, the club rather

than the
Herakles.

bow
It

is

the symbol of the native

also

See
'

p.

121,
'

Fig.

71,

below.
'

Similar

may

be

said,

generally,

'

shorts

or

bathing drawers

appear on two

that Herakles derived his club from the

same

Zakro sealings of the

(M. M.
III).

earlier 'fantastic' class

xxii,
p.

quarter as the Asiatic horn bow.

'

See/.If.S.,

80,

Fig.

See

jP.

o/M.,

ii.

Ft.

I,

p. 50, n.

2.

'

In Knossos,

Report,

1900,

p.

44,

this

and PL VII, 34, 36. They recur on a signet-ring of good style worn by a fallen cow12,

figure

was

set askew.

The

scale pattern, as

boy

in a scene of the
iVes'or,

Taurokathapsia (A.
6,

E.,
S.,

Dr.

K.

Miiller

rightly

pointed

out

{Friih-

Ring of
i925).

e>Y., p.

Fig.

\: J. H.

myhenische Reliefs, Jahrb. xxx, p. 262), should

STYLE OF RELIEFS RESEMBLES 'MINIATURE FRESCOES'ioi

On
fuller

the other hand

it

is

natural to suppose that these small reliefs on

Pictorial
parallel
]J^'[^^_

the vessels, whether in metal-work or soft stone, were largely based on the

The compositions supplied by the set of Miniature wall-paintings. sports fragments described above show that, besides scenes connected with
and sacred dances, the theme of the beleaguered stronghold also found illustration in works of this class at Knossos, as it had in the faience mosaic of a somewhat earlier date. The same dramatic spirit breathes in both the frescoes and reliefs, and the gesticulating women on the wall-tops as seen on the rhyton these too in fashionable attire find a distinct analogy, though more restrained in tone as befitting the different situation, in the conversational groups of Palace ladies who occupy the front seats in the
'

ture
'^'^^'^
'

shows.

From women on

the

first

an analogy has been drawn between the gesticulating

Anticipascenes on
^^'^Ifigg"^

the walls and parapets of the stronghold as seen on the silver

'rhyton' and similar episodes on the shields of Achilles and Herakles as With regard to the first example, described by Homer and Hesiod.^ indeed, it may be remarked that the wives and infant children who, with the old men, stood as guards upon the walls,- must rather in the first instance have been placed there to convey to approaching enemies the idea that the walls were manned, though the other object of rousing desperate valour in husbands and sons may also have been kept in view. The latter object seems at any rate to have been mainly aimed at by the women, shrieking and tearing their cheeks, on the mighty towers, as imaged by Hephaestos on the The mainspring of their action here was terror, and shield of Herakles.^

and
kles.

we

are expressly told that the old

men

gate

were
in

In this case stationed outside the

'

stricken with fear

'.*

The theme
runners

of the stronghold, either besieged or taken, finds

its fore-

Besieged

the proto-dynastic stage of Egyptian art

among
is

the reliefs of the hoiTtra-

characteristic slate palettes.

The

enceinte itself

there

shown

in plan, ^"p"^'
tianart.

with towers at intervals, square or rounded.

On

Conqueror, figured as a
1

bull, batters

the walls

the vanquished
/JoW,
xrara
8'

the tablet of Nar-mer, the

chief, girt

Cf.

Tsountas, 'E^.

'Apx-,

1891,

p.

20;

X'^<"'. o^i"

eSpuVroi/TO irapcias
'Rcj>aLa-Toio.

Tsountas and Manatt, Mycenaean Age,

&c.
//. XVlll.

p. 2 14,

t,<M^<jw

W\ai,

Ipya.
:

kXvtov

Ih'd., V.
ai'Spes
8',

245-8

514, 515p aXoxoi T6 ^lAai Koi vqwia TtKva

8'

01 -n-pccr/J^es eo-avy-ijpds T6 /i;u,ap7rov,

Ttixos

fJi-iv

aOpooi (.KTOirOiv irvXimv eaav, av SI

6(.0Lcn

pvar

e^eo-TaoVes, p-era

dvipci, os

tx^

X"P"5

'X'"' /iaKapccrcrt, irepl cr0ere/DOio-t T-

yrjpa's'
'

Kecra-L
:

Hesiod, 'Aa-vh, 242 seqq.

8iSio'ts.

at Si yuvaiKCS ivS/xrjToiv iin irvpytnv


I02

TRADITIONAL EGYPTIAN SIEGE SCENES

^

with the Libyan sheath, lying prostrate below

in

another case the captured

Example
from
Fifth

Dynasty

Tomb
Anta.

of

City is symboHzed by a lion and vase within its circuit." Under the Early D) nasties this method of drawing the surrounding walls in plan is adapted In the to a more dramatic presentation of the incidents of the operations. tomb of Anta, dating from about the middle of the Fifth Dynasty c. 26802540 B.C. a plan is thus given of a beleaguered stronghold somewhere in the Semitic borderlands of Egypt, though a scaling ladder an incongruous feature as here introduced The is at the same time set against it (Fig. 57).

is

Its

oblong walled enclosure

of scenes, in the
victory over
first

divided into successive ;:ones depicting a series

dramatic
cliaracter.

of which

women and
room

children are seen gaining an easy

some Bedouin

allies of

the Egyptians

scaling the walls, but cannot find

to use their bows.-'

who have succeeded in The women and

even the children

tance.

alone
row

In the

first

a second to the right

armed with

a dagger,

man the walls have thus a chance of resiswoman stabs a Bedouin archer to the left, while breaks his bow in token of surrender to a mere child who is put forward for the purpose by his mother,
left to

standing behind him.

Similar scenes are represented in the other rows,

but, while the artist thus complacently records the discomfiture of the desert
allies

and the

failure of the escalade,

an old

man

in

the lowest compartment

hears the Egyptian sappers breaking through the wall.

In the second row

an ag-ed man leaning- on his staff, with his hand on the head of his infant son, and two women, one bowed forward and holding her hand to her forehead, the other, perhaps the Queen, prostrated and holding out a lotus flower, appear before the seated figure of the King the Priam of a more ancient Ilion to announce to him the impending doom.*

examples. in elevation, but this advance in artistic method is accompanied by a distinct falling off in dramatic presentment. In the siege scenes, for instance, from

Middle Empire

In the period of the Middle

Empire the besieged strongholds are shown

the

tombs of the Twelfth Dynasty Cemetery

J.

at

Beni

Hassan,-'' warriors

E.

Quibell, Hierakonpolis, PI.

S.,

XXIX,

and
'

Zeitschrift fiir A.

1898, Plates XII,

XIII.
In a fragment of a tablet in the Louvre,

first

published by

Heuzey,

u//.

de

Corr.

Hell., xvi,

307 seqq. ^ Petrie, Deshasheh, PL IV, and pp. 5, 6. Petrie describes the scene as representing
I, p.

PL

tomb are Sati. more or less contemporary Pyramid of Teti we again see a plan of the besieged building attacked by a scaling party, including a ladder on rollers. J. E. Quibell and A. G. K. Hayter, Excavations at Saqqara
while the defenders of the
*

In

the

(Pyramid of
*

Teti,

North
of

side). Frontispiece.

P.

E.

Newberry, Beni

Hassan,
Pt.

Pt.
II,

I,

'

a -war

between the Egyptians and a people

'.

PL XIV;

Tomb

Amenemhat,

PL
;

of North Arabia or Southern Palestine

calls

He
',

V Tomb
;

(15) of Baqt III, Pt. II,

PL

XV

the allies of the Egyptians

'

Bedawi

Tomb

(17) of Khety.

SIEGE SCENE ON TOMB OF ANTA

103

Fig. 57.

Egyptian Siege Scene from Tomb of Anta (Vth Dynasty).

alone appear on the wall-tops and battlements.

^

About the beginning

of

the Nineteenth Dynasty, however, as in the relief recording the capture of

shortly after 1320 B.C. Kadesh by Sety I a more varied and lively version makes its appearance, and a further dramatization is visible in
'

In the great hypostyle Hall of Karnak (Lepsius, Denkmiiler,

iii,

&c.).

104
Sensational

WAS THERE A MINOAN REACTION ON EGYPT?

in

sculptures of the

versions
of

Tabor
:

Ramesseum, such as that (Fig. Rameses II's fifth year (1295 v.c.)?

58) depicthig the siege of

New

Empire

Siege of Tabor.

on a rocky height fenced round with a double enceinte, including a citadel tower or keep, and a gate with upright posts is

The

city itself stands

shown

to the left of the outer wall.

Women

in wild gesticulation are there

seen on the towers and battlements beside the defenders, armed with bows, spears, and stones, while some of the inhabitants endeavour to escape by

means of

ropes.

The
'

attacking force,

among whom

are Shardanas with

horned helmets, as well as Egyptians armed with round-topped shields,

make

use of the

testudo
hold,

'

for their approach, but the ladder for scaling the

walls has lost

Was
there a

and is falling, together with two of the aggressors. One of the Shardanas makes use of a spike of metal to climb the rocks.^ The citadel tower shows a standard transfixed with arrows the sign of defeat while a figure holds a flaming censer with an incense offering to the Egyptian king, a visible token of surrender. Here, too, as on the silver rhyton we find what is clearly a faithful
its

'

',

Minoan
reaction

record of various thrilling episodes of the attack

victor, like the

not

all

favourable to the

shipwreck

in the

other case.

Here, too, moreover, we see

on Egypt?

carefully depicted various ethnic

characteristics in

armature and dress.

Egyptians with their national coiffure and sashes, together with their rounded shields, Shardana mercenaries with their two-horned casques, long
thrusting swords, and round targes, and the native Syrians v;ith long Semitic

gaberdines.

The
At
the

analogies between this and other Egyptian siege scenes of this

later epoch, with those of the

Minoan composition, are sufficiently obvious. posteriority in date amounting in the above makes it quite possible to trace in this sensacase to over two centuries tional version the direct reaction of such Minoan models, belong-inof to the early part of the New Era, on the stiff conventional schemes that the Egypsame time the great

tian sculptors inherited

from the Middle Empire.

The
'

spirit that breathes in the

Minoan version
Skulptur, Fl.

is

far

more

in

keeping

Lepsius,

Denkmdler,
;

iii,

166

(some deStar., cviii

i,

tails

inaccurate)

Rosellini,

Mon.

93 and text (Medinet Habu). Baron Von Bissing in comparing the Mycenae
relief with the

Wilkinson,

Ancient
;

Egyplians,
Prisse
in

p.

243

Egyptian class of siege

details of the

(some
Egypt.
zinski,
ii,
^

omissions)
ii,

d'Avennes,
Fig. 58
;

Art
Wres-

scenes agrees that

many
form
the

Minoan
of the

17,

reproduced
zur

example, in

the

and position of the

Atlas

altdgypt.
relief of

Kulturgeschichte,

stronghold and
besiegers

in

movements
present

107-9.

Another

Rameses

II also

and

defenders,

analogies

shows the siege of

T.

a Syrian fortress (Rosellini,

with the Egyptian versions.

^

68

Von

Bissing,

Denkmaler

dgyptischer

See Wilkinson,

op.

cit.,

p. xxi,

No. 75.

c:^

Fig. 58.

Siege of Tabor in Fifth Year of Rameses II

1295 b

c.

(Ramesseum)

io6
Cretan Miniature Art
supplies
link

LINKS WITH EPIC TRADITION

in the earlier reliefs of the

with the naive dramatic force visible

Tomb

of

Anta.
'

Looked
'

at,

indeed, from this point of view, the siege scene on the

in a

rhyton

is

but a link

long chain.

In the other direction the anticipation

between
early

of the imagery of

Egypt and epic

tradition.

Greek epic is clearly discernible. Once more, indeed, we Minoan Crete serving as a medium through which, when Classical Greece was still undreamed of, traditional methods of expression taken over from the more ancient civilization of the Nile Valley first reached our Continent.
see

But considered
thus recorded
actual

in
in

regard to

its

particular composition
all

and

details, the

scene

small relief must before

things be regarded as an

document illustrating some critical episode of Minoan colonial history a document possibly taken over from a painted record on the walls. The parallel scenes, imperfect though they are, supplied by the glimpses of fragments of frescoes in the Miniature style, were no doubt in the same way based on episodes of actual occurrence.

Fragment of Steatite 'Rhyton' from Angle of Palace Site, Knossos. Archer, APPARENTLY DISEMBARKING FROM A BOAT (a HORIZONTAL Border of which appears) and mounting Rocks of Conventional, Scale-shaped Outline.
Fig. 59.

N.E.

JT,.

Miniature Painting on Crystal Painting' in Metal-work Engrailed Designs on the Blades of Weapons.
' :

Similar Subjects of ]Vall-paintings and small reliefs ; Other examples painting on the back of Crystal lens of bull's eye and pommel of dagger ; of Painted Crystal plaqne from Room of the Throne, presenting bull-catching

scene

Microscopic work

Driven bull barred by rope ; Locks

'

visible

Cow-boy ; Perfection of Miniaturists Art ; Painting in Metals' Minoan tntarsia work; M. II dagger from Lasithi ; The Mycenae daggers Egyptian adaptations ; Nile pieces' on dagger-blade description of technique ; Hunting-leopards or Chitas ; Egyptian Caffre cats trained to catch ducks ; Indigenous Cretan versions pheasants for zuater-fowl ; Influence of Nile scenes on Minoan and Mycenaean Ceramic Art ; Also frequent on intaglios ; Duality of scenes on dagger-blade other examples ; Also division into three,

of leaping

'

Cups ; Dividing up of designs reflects separate panels of fresco technique; Lion-hunt on Mycenae dagger; Successive stages in execution; Restoration of dagger duality of designs, again marked; An Epic touch; Original design drawn by eyewitness of lion-hunts ; Lions in Classical Greece Cotnparison with African scenes of lion-hunting in modern film (Simba) ; Lion bringing down Gazelle; Fragment of painted relief of lion from S.E. Palace Angle; Intaglio types derived from painted reliefs ; Type of hero stabbing lion on Mycenae bead-seal ; Copied by Third-Century Greek engraver Canea find; Minoans personally acquainted zuith lions in every aspect ; Lion sacred
as on Vapheio

dagger-blade with inlaid designs of szvimmers Flying-fish on Vapheio blade compared zvith fresco ; Lilies on inlaid blade based
to

Minoan Goddess ; Vapheio

on fresco band

M. M.

recorded in Greek

Epic implied knozuledge

Ill

parallels

Masterpieces of inlaid metal-work of Minoan originals ; Yet the

A rt itself extinct

long before

A chaean
^

invasions.

It has been already noted

that the pugilists seen in the Miniature Similar

fresco from Tylissos find their counterparts in small reliefs on steatite vases

both from Knossos and Phaestos of the same approximate date. The frag- '"''e paintings T mentary remams of buU-grapphng scenes ni pamted stucco are m turn and small reliefs. reflected in such miniature representations on vases of soft stone, and these
.

...

of ji^nia-

again find their parallels in repousse metal-work design, as seen, for instance,

on the Vapheio Cups. For our fuller knowledge of the siege scenes, of which there exist only imperfect records in frescoes of this class, we have had to turn to the silver rhyton from the Mycenae shaft-grave.
'
'

'

See above,

p. 35.

io8

MINIATURE PAINTING ON CRYSTAL

These
parallels

do

not, naturally,

always imply the actual copying of

miniature panels of painted plaster on the walls.

sufficient to

But the evidence

is

at least

show

that there

was a

sympathetic movement

of the kind in

various branches of contemporary art about the beginning of the New Era. In the wonderful inlaid designs in metal-work, such as those of the

dagger-blades described below, the actual colour effects of the frescoes are
successfully imitated.

In one particular department of contemporary

art,

moreover, the miniature style in painting itself attained a microscopic such as could not be rivalled on the plaster of the walls.
Bull-catching Scene painted on Crystal Plaque.
Bull-

finish

scene'"^ painted

This was the art of painting on the back of small crystal plaques or bosses, which was carried at Knossos to a perfection worthy of the greatest
miniaturists of later times.
.

on crystal
plaque.

In
^'^

its

general aspect

we have seen

good example of

,.,.,.. work kmd of

this
'

examples
of crystal
lens of

^^^ case of the crystal lens of the eye of the magnificent steatite
the fomi of a bull's head found in the Little Palace.

rhyton

'

[ii

Here the bossed

"

^^^'

form had, besides, the effect of magnifying the black iris and the scarlet pupil, rimmed by the white cornea, conveying an almost startling impression
'

of fiery

life

'

^.

In the same

way we

see such lentoid disks cunningly inserted

to

enhance the

effect of the crystal inlays

ivory draught-board.

above the bright blue smalt on the Another decorative example of this art is supplied
probably the upper part of the pommel of Third Shaft Gra\e at Mycenae ^ which shows
In later days at least

by a hemispherical
Crystal
of dagger,

crystal

dagger-hilt

from

the

pointed arches, red and white within.

teenth Dynasty

was known in Egypt, as is shown by the hollowed crystal boss of a pectoral from Gurob, with a miniature painting of the heron-like Bennu bird in black on the underside, which was
this decorative process

the

Nine-

lined with gold leaf."

That
the

at

Knossos

this art

was already practised by the beginning of

unfortunately evanescent of a which must have belonged to some large inlaid composition like the earlier Town Mosaic executed in native faience. But the most remarkable illustration was supplied by what remains of another cr) stal plaque no doubt also belonging to a larger connected scene
crystal plaque described below,
'
'

New Era

appears from the evidence

p. p.

'

See P. of M., ii, Pt. II, Schliemann, Mycenae,

530.
200,
Fig.

195, suggested that

it

was a hair-pin.
'p.
t,^^

308.
194,

Petrie, Aa/;?2,
PI.

Gurob and Nawara,

Schuchardt,

Schliemann' s Excavs.,

pp.

and

XXIV,

3.

PLATE XIX

ir

-m:

^^ %'

-%K,

li

BULL-HUNTING SCENE ON CRYSTAL PLAQUE

109

that came to
of the Throne.

light with other crystal relics in the lustral area of the

Room

Painted
crystal

The

precious object of which

it

formed part may well have

plaque

belonged to the Treasure of the last of the Priest-Kings to use the from Room of neighbouring" throne. That it was an heirloom of somewhat earlier date is, Throne. however, probable enough, and in any case, as representing the acme of this

Minoan
its

class of miniature painting

on

crystal,

description

may be most

fittingly

placed

here.

The

height of the plaque (Fig. 60)

part

of the upper edges of which are preserved as

well as the lower left-hand corner

is

55 milli-

metres and the extreme width of the frag-ment

35
fine

mm.

Upon

the back of

it,

overlaid on a
'

kyanos which reappears as the sky beyond, is seen the forepart of a bull at full gallop, its head thrown up and so twisted that one horn is brought down rather low on the side of the neck. The forelayer of brilliant blue smalt or
legs, as usual in
Fig. 60.

',

such representations, are rather

Microscopic work.

short and thin as compared with the huge body. Part of Miniature The extraordinarily minute character of the Bull-hunting Scene painted on Back of Crystal Plaque, (i) work may be best gathered from the enlarge-

ment to three diameters in the Coloured Plate reproduced from a drawing executed for me by Monsieur E. Gillieron, fils, together with the completed design Fig. 61. The eye with its white cornea and red rim, the rough surface of the horn which presses down the ear,

XIX

the typical quatrefoil spots, even the individual hairs are exquisitely rendered.

In the field above the bull's head are the two determining features of Driven the episode here depicted, a section of twisted rope descending obliquely,
bull

barred by
rope.

and to the right of

itself

it

long falling locks of a leaping

human
its

figure,

which

has disappeared.

No

traces remain on the crystal of the rope in

further course,

it

Locks
visible

having been entirely covered by the intrusion of the thicker layer of powdered smalt. Beyond the front of the beast's head it has been obliterated Had it traversed the head itself its traces would have in the same way. been visible. It seems to have been taut and to have run on in the same direction, immediately in front, so that the bull's mighty mass would inevitably have been hurled against it. It is clear that we have not here to do with an ordinary scene of

of leaping

cow-boy.

no

BULL-HUNTING SCENE ON CRYSTAL PLAQUE

is

undoubtedly depicted on a lentoid intaglio from Crete already figured/ where a hunter has flung his lasso round the neck From the section of a huge horned sheep, engaged in suckling her young.
lassoing an anima], such as

Fig. 61.

Enlarged Completion of Mini.^ture Design of Bull-hunting Scene on Back of Crystal Plaque, (f

preserved

we may gather

that the rope

was

in this case tightly stretched,

it

had been attached. The beast was then driven down some woodland ride or glen, a cow-boy being
doubtless, between two tree trunks to which
'

P. of M.,

i,

pp. 684, 685, Fig. 503.

'PAINTING IN METALS'

iii

posted so as to be able to leap down at the moment when his headlong course was checked by the rope, to seize his horns and complete his overthrow.

In the cross-rope

itself

we have

thus a simpler version of the rope

cradle in which the whole animal is caught in the sensational scene on the Vapheio Cup.^ The long locks of the Minoan cow-boy falling across the line of the rope show in fact that he (or she) was in the act of springing forward, and compare with those, for instance, of the female taureador from the Domestic

Quarter illustrated below. Monsieur Gillieron, in accordance with this suggestion, has executed the restored sketch of the whole scene reproduced
in Fig. 61.

This marvellously microscopic work, the

discernible to the ordinary eye except

details of

which are hardly

Perfec-

XIX, represents the 7ie It may indeed well be asked whether a crystal lens, such as the bosses actually used for inlays, may not have served for its production.^ Delicate as is the
Plate

when considerably enlarged as in phis tiltra of the Minoan miniaturist's art.

Miniaturist s

Alt.

delineation of the diminutive heads on the painted stucco panels, the fresco

process

itself

and the amount of shorthand required

'

'

in these large

composi-

tions excluded the elaborate perfection of the minutest features that

in this case.

we

find

Here the

artist

was

free to complete his

work
'

at his leisure,
'

unhurried by the time-limits of the fresco technique.

The

back-work on

the crystal, moreover, secured the luminous effect in the colouring that gives to-day an added charm to paintings exhibited under glass.
'

Painting in Metals

'

the Engrailed Designs on the Blades of Weapons.

Apart from such painting on the back of crystal plaques, which represent 'Painting in fact a parallel development of the limner's art, the nearest comparison metals': with the miniature paintings on the walls is supplied by the scenes depicted M'noai^ in inlaid metal-work of varied hues. This specially Minoan art of engrailing work. has indeed been well described as painting in metals '.^ Its rudimentary stage may be already illustrated in the M. M. II dagger- M. M. II blade from the Lasithi district with incised designs, the inlaying material of frof^*^"^ which has, however, been lost, depicting on one side a fight between two Lasithi. The latter was bulls and on the other a boar-hunting scene (Fig. 62).* traditional sport in the Island but we can trace, nevertheless, no doubt an old
'

in this
^

somewhat
the

naive,

if

vigorous, design of the hunter, with flowing waist-

See below,

p. 179, Fig. 123, a.

VI
*
'

A, 13.)
Prof.

One from

Mavro

Spelio Cemetery,

G. Karo happily
'.

refers

to

it

as

near Knossos, has a magnifying power of 10 diams. (See Forsdyke, B.S.A., xxviii, p. 288;

Metallmalerei
*

P. of M.,

i,

pp. 718-20,

and

Fig. b^\,a,b.

112

M. M.

II

DAGGER-BLADE ENGRAVED FOR INLAYS

his spear into the boar's forehead, a forerunner of that
fully

band thrusting
the

warriors

Mycenae dagger-blade described below, in which wage actual war upon a troop of lions.

on armed Minoan
soil,

In this art of inlaid work, as brought to perfection on Cretan

the

marvellous dagger-blades from the Mycenae Shaft Graves have long supplied brilliant examples,

and the Minoan craftsmen were here the masters

Fig. G2.

Early Bronze Dagger-blade (M. M.

II) fro.m

Psychro with Engraved

Design for Inlay.

The Mycenae
daggers.

of the Egyptian.

The

indebtedness in detail shown by parallel works from

Egypt has been already illustrated in the case of the inlaid dagger-blade and axe-head from the tomb of Queen Aah-hotep with the name of King Aahmes,
the
first

Egyptian adaptations.

king of the Eighteenth Dynasty

{c.

1587

b.

c).

On

the

first

of these

appears a lion-hunt with the animals at

full

gallop and rocks descending

from the upper border, both purely Minoan features. On the second is seated a griffin with coiled Minoan locks and wings presenting the M. M. Ill
'notched plume' motive
It will

in its

secondary stage.

be seen from the

^

first

example that engrailed designs

like that

on the dagger-blade depicting the lion-hunt from the Fourth Shaft

at

Grave

by the end, that sixteenth century beyond the the Minoan works But
of the Eighteenth Dynasty
b. c.

Mycenae

were already reacting on Egyptian art by the very beginning

is,

of the

first

quarter of the

in

far

inlaid designs

executed on

the royal arms of the

painter's art

Pharaohs even the nuances of hue inherent in the were actually reproduced. Thanks to the remarkable drawings executed for me by Monsieur E. Gillieron, fils, it is possible in this place to illustrate two of these inlaid daggers, together with sections and illustrations of successive stages of
their fabric of a kind not yet attempted.
'

He

has also with great liberality

547 seqq., and
p.

F. of M.,

i,

pp. 715, 716,

and

Fig. 537.

Ibid., p.

551, Fig. 402.

'NILE PIECES'
placed at
close

ON DAGGER-BLADE

113

my

disposal his technical observations as to these objects due to

and repeated personal observation and aided by chemical experts.

'Nile Pieces' on Dagger-blade.

One of the most splendid illustrations of the processes employed is the dagger depicting the 'Nile piece' (Coloured Plate and Figs. 63, 64), the connexion of which with a class of painted stucco designs on the walls of the Cretan Palaces is clearly ascertained.

'Nile
*-fcl

XX

/Ip

pc

'

on
hf^l^"^'

Fig. 63.

Section of Dagger-blade with Inlays showing River and Duck-hunting

Scenes.

k.

/"

Fig. 64.

Central Part of Dagger, showing the Outlines and Raised Surfaces OF the Silver Plate socketed into the Bronze Blade. (A)
is

In this case, as

shown
this

in

the Section

(Fig. 63), a cavity, about Descrip|g^i. l^e.

a millimetre in depth, has been hollowed out of the central part of the

bronze blade, and into

has been set a silver plate following

its

its

curve
to

below the general

be
filled

level of the dagger-blade, so as to leave a

sunken space
silver

with

niello.

In part of

width, however, this inserted plate rises

to the surface,

forming on both faces of the dagger a wavy

band that

extends to the whole length of the blade and forms the river-course in the In two other design, its surface being oxidized to give relief to the fishes.
places, moreover, this silver plate reaches the surface, partly inlaid with gold,
in the

form of a hunting animal of

cat-like aspect.

Besides the black

niello, the cut-out surface

of this central plate forms

the basis for incrustations of pale gold, polished silver, and

III.
I

more

rarely of

'

114

CHITAS AND CATS CATCHING DUCKS

Huntingleopards or Chitas.

copper,^ which fill in the outlines of the hunting-leopards, water-fowl, fish, and papyrus clumps that make up these spirited designs and the details of which are marked by niello lines and dots. The animals represented belong to two distinct species. In one of these we may recognize the hunting-leopard, the yellow skin being rendered in each case by a thin gold plate, overlaid on the silver. The spots are indicated by dots and dashes, and the rings on the somewhat bushy tail are
clearly featured.

As
no

the range of the hunting-leopard or Chita extends over

a large part of Africa and through Syria, Mesopotamia,

and Persia

to the

Ganges there
though
its

is

difficulty in this attribution.

It is possible,

moreover,

is antelopes and gazelles, that it was also trained to There does not seem to be any reference, however, to the use of this animal for hunting in Egypt. It looks as if the Minoan artist had inserted an episode drawn from a more Oriental quarter, and may have

chief prey

seize wild-fowl.

attributed to the Chita a function not properly his own.

Egyptian
Caffre cats trained
to catch

For the other animal, of

cat-like aspect,

our choice

is

certainly limited

ducks.

by the Nilotic character of the landscape in which it is set. It cannot be doubted that we have here a Minoan version of one of the huntino-scenes, dear to Egyptian painters, in which the domesticated Caffre cats are employed to capture wild duck amidst the papyrus thickets of the river-bank. Though the form of the head here is somewhat more weasel-like, the relatively dark back, contrasting with the paler under-part of the body and the subdued character of the spotting and striping, is quite characteristic of the
Caffre cat.^

Indi-

Wild

cats are

genous Cretan
versions

acclimatized by

pheasants or waterfowl.

on the fresco

still known in the Island," and we have seen this theme Minoan artists, and transferred to the rocky Cretan landscape of Hagia Triada * and, in a more fragmentary shape, at

Knossos,' while in both cases, apparentl\', the animal

a pheasant instead of a water-fowl. indeed, of the

is

engaged
'

in

chasing

In a part of the rocky background,

hybridized in
'

Hagia Triada Fresco we see the papyrus of the Nile pieces the Minoan manner and turned into a kind of flower in
in

Only apparently
of the leopard

the

interior

of

the

in Crete, and,
(in
'

according to Miss Dorothea Bate

in Crete, p. 255),

ears

and the band round a

Trevor Battye, Camping

duck's neck on Coloured PI.

vivid red.

XX,

d.

It is

of a
this
(\
i,

In the coloured reproduction of

seems to resemble most closely specimens from Sardinia'

-

face of the blade in Perrot

PI.
'

and Chipiez
Lydekker,
421, P'igure.
is

P. of

M.,

i,

p.

538,

Fig.

391

(F.

Halb-

XVII)
Felis

this feature is

not indicated.

herr, Resti dell' eta

Miaiiea scoperti ad Haghia

Caffra.

Cf.
i,

R.
p.

The

Triada presso Phaestos, PL VIII).

Royal Natural History,

'

Ibid., Fig. 392, a, b.

The

eye there

is

blue,

wild cat, Felis agrii/s,

not

uncommon

like that of a

Siamese

cat.

fr.ATE

XX

^. <^i///r0^o^///i

INLAID DESIGNS

ON MYCFNatt n.^^

NILOTIC ELEMENTS IN CERAMIC DECORATION

'

115
'.

a fashion identical with that of the landscapes of the House of the Frescoes In that case we find these exotic blooms associated with animals adapted from the blue monkey of the Soudan.^

But the best evidence of the lasting influence of the Nilotic duckhunting scenes on Minoan decorative tradition is to be found in the adaptations of the papyrus in its 'acclimatized' shape, as a constant theme ^

Influence
scc'iIm

on

Minoan
ceramic
art.

a
Fig. G5.

Parts of Bath-pans from Phylakopi, with Designs of Water-fowl.

of vase paintings, from the very beginning of the

last

'

New

Era' onwards to the

water-fowl are also

days of Minoan and Mycenaean Art.

in

At times

introduced, as in the case of two interesting fragments of bath-pans of

Cretan form from Phylakopi

Melos, the designs of which are clearly from

a, b)P-

the hand of the Minoan artist (Fig. 65,

There can be no reasonable

tuft as

doubt that the scenes here depicted reflect contemporary wall-paintings of the

Knossian school,^ indeed the conventionalized papyrus

here rendered

(Fig. 65, b) itself affords the best existing prototype of the typical shape in

which
^

it

appears on amphoras of the

p.

'

Palace Style

'*

On

a painted larnax

cf.
^

F. of M., ii, Pt. II, Coloured Plate X.

C.

451. Fig- 264, and

manner in which the white colour is introduced into the bird's body and tail reflects
the influence of fresco technique.
*

C.

Edgar, Phylakopi,

pp.

141,

142,

Figs. 114, irS^

E.g. F. of M.,

ii,

Pt.

II,

p.

477,

Fig.

A painted

sherd from the same stratum at

285, G.

Phylakopi presents a flying swallow, where the

I

ii6

NILOTIC ELEMENTS IN INTAGLIO DESIGNS

^

from Lieortino

of L. M. Ill b date a further detail

is

introduced from the

same
Also frequent in
intaglio

Nilotic repertory, a butterfly fluttering in front of a water-bird.

Among intaglio

types water-fowl and papyrus clumps of the

same

origin

types.

had a long vogue both in Crete and Mycenaean Greece.- A lentoid bead-seal of green jasper from the site of Knossos ^ (Fig. 66, a) presents an exquisite group of three wild fowl amidst sprays of the conventional papyrus, resem-

FiG. 66.

Water-fowl and Papyrus a, on Green Jasper Bead-seal, Knossos h, Haematite Lentoid, Central or Eastern Crete.
:

bling those of the dagger-blade.

Sprays of the same kind appear on the haematite bead-seal from Central Crete (Fig. 66, b\ and very large clay sealing,

showing papyrus tufts of similar type, was found, in a L. M. II medium, in connexion with the Arsenal,* North- West of the Knossian Palace (Fig. 67). The birds here are in two fields, separated by a horizontal line, an arrangement which resembles that of some of the later wall-paintings forming double horizontal bands, as for instance the Camp Stool Fresco In these cases the ducks are still undisturbed. At times they have spread their wings for flight, as on the haematite lentoid Fig. 66, b,^ and on a sardonyx of the almond shape from the Vapheio Tomb.'' Nor is the representation of the
'

'.

'

'

'

Now
it

in

the

Louvre

had occasion

to

there

is

a coarsely executed design of two pairs

copy
'^

at Ligortino itself shortly after the dis-

of ducks in reversed positions, similarly divided

covery of the tomb.

by a horizontal
itself

line.

A duck
I\L

standing by

already appears

on a
' *

M.
is

II b prism seal in

my
J.

collection,

From Central or Eastern Crete, Candia Museum, Xanthudides, 'E<^. h.py^., 1907, PI.
'"

'

but there
A.

no Nilotic ingredient.
in

VII, 66.

Given
E.,

me

1899 by Dr.
Report,

Hatzidakis.
p.

Compare, too, the pair of water-fowl on a black steatite amygdaloid bead-seal from
East Crete
{loc. cit.,

Knossos,
p.

1904,

56,

No.

97),

and

cf.

No. 153

Fig. 19,

and

57.

On

a haematite lentoid

(haematite, E. Crete).
"

from Praesos

('E</>.

'Apx-, 1907, PI- VIII, 123)

'E(^.

Apx-, 18S9, PI. X, 19.

DIVIDING UP OF DESIGNS: FRESCO CHARACTERISTIC

feline

117

animal hunting the water-birds wanting.

the

On

a haematite intaglio
joint of the

from

Merabella Province, East

of Knossos (Fig. 68)', of spirited

design, a cat in a papyrus thicket seizes a flying

duck by the

wing, like the Chita on the dagger-

blade (Coloured Plate

there, too,
detail

XX,
fills

a).

As

a papyrus spray
late.

to complete the parallel in

the angle.

On
who
.

another similar stone (Fig. 69) the

cat springs

on the bird from behind,

Duality of scenes on daggers.

looks back too

A
.

suggestive feature in the com.

on either side 01 the blade 01 the dagger presenting the duck-huntposition

.1

J-

ing scenes

is

the clearly

marked

inten-

tion in each case to depict two parallel

Fig. 67.

Clay Sealing found near

'Arsenal', Knossos.

or successive episodes rather than one The ease continuous composition.

with which the whole can be dichoto-

mized

is

illustrated

by the Coloured

Plate,

where

it

has facilitated repro-

duction in two sections.

This duality again strikes the eye

in the case of the

dagger

illustrating

^"M
Fig. 68.

Haematite Amygdaloid, Merabella.

Fig. 69. Haejiatite

Amygdaloid (Crete).
lion Also

the

lion-hunt described below, and in

the companion piece of the

hunting gazelles.
it

Elsewhere a

triple division is as clearly

marked.

We

see

into

in

the blade with the three coursing lions, and

.

again in the restored 'hree

design of three swimmers shown in Fig. 81 below.

a triple division
.

On

as on

the Vapheio
.

Cups

Vapheio
-^."^.^'.

is

recog-nizable in both cases.

. .
.

This repeated practice of catting up a subject that might well have been represented as continuous into two or three sections easily explains
^

Dividing up of
reflec"s^

In

my

Collection.

ii8
separate panels of
fresco technique.

INLAID LION-HUNTING SCENE ON

we regard
it

DAGGER
Minoan
wall-

itself if

as a reflection of the conditions of the

For reasons connected with the rapid procedure involved in true fresco painting on the still moist lime-plaster it was necessary to break up the wail space into manageable panels. In the case of the Vapheio Cups, indeed, as it is hoped to show in a succeeding Section, the triple division visible in both of the designs'* may go back to the architectural causes conditioning the setting out of great plastic prototypes that had originally run above to triple bastions on either side of the Northern Entrance
painters' art.
^

Passage of the Knossian Palace.

The Lion-hunting Scene on Dagger-blade.

Lion-hunt

The
lance,

noblest of

all pictorial

designs in inlaid metal-work

is

supplied by

on Mycenae
dagger.

the blade representing Minoan warriors, armed as

Successive

if for war with bow and and protected by great body-shields, attacking a troop of lions. In this case, again, the successive stages by which this masterpiece of metal inlajing was brought to completion are admirably illustrated by the drawings executed for me by Monsieur E. Gillieron, fils, in Fig. 70, i, ir, iii.^ I here resume the results of Monsieur Gillieron's study. Fig. 70, I, shows the bronze blade, in which the designs were sunk to

stages in execution.

a depth of half a millimetre.

In Fig. 70,

ii,

are indicated the inlays of thin

gold (faintly shaded) and silver (plain white) cut out and

hammered into the slightly sunken field a kind of work for which there are many examples from Ancient Egypt. The surface was afterwards polished to make the blade smooth and to remove the hammer marks, of which some traces, however, remain
;

the blade itself was oxidized so as to form a kind of blackish

brown
This
is

patina,

and

this

hard surface helped to contain the inlaid plates.

tint

reproduced by the dark grey

illustrated

of the blade.

As

by Fig.

70,

iii,

the plates were then engraved with a finely

pointed instrument

(biwiii)

so as to supply the details and outlines of the

scene, the engraved parts being brought out through the introduction of
niello,

here rendered as black.

The

gold of the lances

in

is

redder than that

to

used for the warriors' bodies, the difference

of copper.

hue being due

its

an admixture

prominent boss has its characteristic quatrefoil spots inlaid with dark niello on the silver field as
great buU's-hide shield with
^

The

See

Mr.
i,

Noel
528.
p.

Heaton's

observations,

Karo's careful observations in Airh. Afizeiger,

1903, p. 159.
there
oxide.

P. o/M.,
^

p.

He

was of the opinion that

See below,
blade

177 seqq.
also

were traces among the inlays of iron

'

For a technical account of the inlays of

I

this

must

refer

to

Dr.

G.

STAGES OF FABRIC
so, too, the

IN

INLAID DESIGNS

119

well as the shoulder-straps attached to the underside of the other shields

golden outline of the naked limbs against the silver of the shields

'it's

A^S^"^

-V"

>^

,^/

"

'^.

Fig. 70.

Successive Stages in the Inlayed Design of the Lion-hunt on Dagger-blade by E. Gillieron, fils.
:

Mycenae

and of the bronze ground. Every whole group is skilfully composed.

detail

is

as delicately rendered as the

Enough remains of the handle and pommel to admit of the complete reconstitution of this weapon as given in the electrotype facsimile (see Suppl. Its pommel was covered with a gold plate showing lions in relief, Pi. XLI I).^ and minute gold pins were hammered into the ivory plates of the hilt forming, The skill displayed in the in part of it, a delicate spiraliform decoration.^
^ *

Restora-

dagger.

By Monsieur

E. Gillieron,

pfere.

pins recalls that of a

wooden

dagger-hilt be-

This decoration by means of minute gold

longing to the Early Bronze

Age

of Britain

I20

LION-HUNTING SCENE: DUALITY

IN

DESIGN

on the blade, depicting the fight with the lion, is of supreme excellence and is visible in the grouping, the variety of incident, and the
inlaid design

dramatic climax.
Duality of designs again

In the case of this lion-hunting scene, the duality

as seen in Fig. 71, a and
6.

is,

again, well marked,

Towards the

point of the dagger two lions are

marked.

depicted in wild
space.

flight, their flying

gallop adapting itself to the narrowing

They

are separated by a distinct interval from the main subject of

the composition, where the boldest of the troop of lions has turned at bay

and charges the band of four hunters. These are armed as for battle, the spearmen with great body-shields of the 8-shaped and oblong variety, while the archer, who is shieldless, is seen in the usual half-kneeling position. All wear the short 'bathing drawers' of Middle Minoan tradition. ^ The lion at bay has been mortally transfixed, the spear-head protruding from his flank, but
his onslaught
is irresistible.

The

body-shield of his nearest adversary has

been dashed
head, in

beneath the mighty paws

and he himself flung backwards, powerless and disarmed, with bent knees and outstretched arms above his the same attitude as the fallen cow-boy on one of the Vapheio cups.^
aside,

The
Epic
touch.

warrior next behind, entirely covered with his great body-shield,

awaits the impact of the onrushing beast, whose forehead he strikes with his
spear.

This stand over the

fallen

has

itself

an epic touch and, indeed,

'

I/md where the Telamonian Ajax stands forth to protect the body of Patroklos holding his broad shield before him like a tower '.^ For this struggle against the King of Beasts is real war, and the scene may have been as much an episode of heroic saga as that of the Iliad.
recalls the episode in the

It is in fact
its

a pictorial record of a definite incident that

may well have

found

counterpart in contemporary lays, with the names of the individual heroes

part in
it.

who took
Original

It

can hardly be doubted that the

artist

from whose design the en-

drawn by
eyewitness of
lion-

grailed

group was drawn had been an eyewitness of such a lion-hunt.

hunts.

Lions

in

classical

Greece.

may suppose on mainland than on insular sites dates far back. They are frequent, indeed, on the ivory seals of the primitive tholos ossuaries of Messara, both in intaglio and relief.'' That they continued to inhabit Greece and its borderacquaintance of the Minoans with lions

The

rather, we

from Normanton, Wilts. (Colt Hoare, Ancient

Wilts.,
i,

See below,
Iliad
xvii.

p. 179, Fig. 123, a.

p.

204,

PI.

XXVII,

2;

J.

Evans,

'

128

<\iipuiV

o-aKos r\VTi Trvpyov

Ancient Bronze Implements of Great Britain,

pp. 231, 232 and Fig. 289).
^

(elsewhere, 132, craKos eipv).

^

E.

g.

the ivory seal, B. of AI,

ii,

Pt.

I, p.

55,

Compare

the

'

Goat-man

'

in the

Zakro

Fig.

26,

where the

lion

seems

to

guard the

sealings, P. of M.,

i,

p. 707, Fig. 5.31, .

dead body of a man.

<

w o

> <

K H

O
o W
^;

o g H

o o
H

O S w
fi

H P

H O O
<!

Q
Q

'

122

LION-HUNT COMPARED WITH 'SIMBA' FILM

shown by the well-known episode of march in the neighbourhood of Herakles and the Nemean lion, indeed, brines
is

lands over a thousand years later

lions attacking Xerxes' camels during his

the Vardar.^

The

legend of

us to the very neighbourhood of Mycenae, and

extirpation of these animals, of which

may reflect a stage in the we have an actual record in the scene

on the dagger-blade.
of the

At

the

same

time,

such was the extended enterprise

Minoans

in

the great days of their culture, and so frequent their of the

Libyan Sea, the possibility of some hunting expedition on the opposite coastlands cannot be altogether
relations with the farther shores

excluded.
It is to

the African side, at any rate, that

we

naturally turn for existing

comparisons.
parison with African scenes

most thrilling commentary has been remarkable film record of lion-hunting scenes in the Tanganyika Territory taken by the intrepid American travellers, of lionIVIr. Martin Johnson and his wife.^ The object of the native lion-hunts hunting inmodern recorded by them was in this case not for trophies or for meat, the whole film movement was a defensive one a sortie against lions that had been Simba carrying off the black man's precious cattle observes Mr. I must say
these, certainly, the

Com-

Amongst

recently supplied by the

'

'

'

'.

',

admired their boldness in deliberately planning to fight lions Avith weapons as fragile as theirs and with no sort of defence against the animals' poisoned claws save their hide shields.' Javelins with iron heads were their only arm. In order to equalize the chances in some degree, they attacked in a band of a score or more, a circumstance which leads us to infer that on the dagger scenes we have only a small part of the warring troop. Their ox-hide shields which in this case covered only half the body showed incurved bands in the middle of each side, giving an inner outline that recalls the 8-shaped Minoan type. In one scene displayed on the film a troop of four or five lions appears in headlong flight to the right, the hindmost with tail trailing behind, while one braver than the rest turns on his pursuers, his tail swinging above him. He springs on the foremost hunters, but is pierced by a salvo of spears shot
Johnson,
'

'

'

Herodotus,

vii, c.

125.

He

adds,

c.

126,
to

seeing

it.

resume of part

is

given in Martin

that lions

abound
in

in that region

and extend

the river Nestos (Mesta) in Thrace and to the

Johnson, Safari (G. P. Putnam's Sons, 1928), 264 seqq., but there is no description p.
there of the

Achelous
"

Acarnania.

scene

on the
to

film

presenting

The
in

film

'Simba'

(=
the

the

lion)

was

the nearest parallel

blade.

that

on the dagger-

shown

London during
I

autumn season

of 1928 where

twice had an opportunity of

LIONS SEIZING PREY: FIRST-HAND KNOWLEDGE

123

from a score of hands. Taking the tearincj claws on their shields the nearest blacks crouched low. Others rose to their full height and added their shafts to those already buried deep in the flesh of the quivering torso.' More than once the lion mauled a spearman, striking down his shield.

Fig. 72.

Lion seizing Gazelle.

Fig. 73.

Lion seizing Stag Signet-ring, Thisbe.

Gold

Of
the

the

remarkable parallelism between

this

scene and that above

described there can be no doubt.

tails in

Details such as the relative position of

the last of the flying troop and the beast at bay agree in the two the dagger, however,
is

cases.

On

we have

to

do entirely with
is

'

white

'

men,
inlaid

and the armature

purely Minoan.
also

first-hand

knowledge of the great beast

shown by the

design on the other side of the blade presenting the hunting scene.^

lion Lion

here springs on a gazelle

(Fig. 72).^

in the instinctive

manner

of the beast of prey, down'"

gazelle.

fastening on the cervical vertebrae, so as at once to paralyse his quarry

A
On

Thisbe signet depicts a

action
is

lion gripping a stag in a like

manner

(Fig. 73).

The same

seen in the case of a lion seizing a bull on

a fine intaglio from the Vapheio

(Fig. 75).

Tomb

(Fig. 74),^

and another from Thisbe

the dagger two pairs of gazelles escape beyond at a flying

two groups being separated by a distinct interval, so that the whole design like those on the Vapheio Cups is divided into three. The cruciform rendering of the dapples on the flanks of the gazelles is itself an Egyptian feature being taken over from the stellar crosses on the Cow of Hathor, like those of bovine types on Minoan 'rh) tons'.* In the stag-hunt of the Late Minoan fresco at Tiryns the deer are spotted in the same
gallop, the

'

coloured reproduction of

this is

given

On
'

a sardonyx, P. of M., i, pp. 513, 514, and Fig. 370. Rodenwaldt, Tiryns, ii, p. 143, Fig. 60 and

in Perrot
^

and Chipiez
'Apx->

(vi), PI.
i,

XVIIL
e.

See, too, P. of Af.,

'E<^.

p. 716, Fig. 539,

1899, PI. X, 18, and p. 166.

PI.

XV.

124

INTAGLIO TYPES DERIVED FROM PAINTED RELIEFS

cruciform fashion.

As in the case of the duck-hunting scene described above, Egypt, we see, was never far from the mind of these Cretan artificers, and it might be suggested that a certain slimness visible in the rendering of the

Fig. 74. Lion seizing Bull on Lkxioid Intaglio Vapheio To.mb.

:

Fig.

7.J.

Lion seizing Bull

seal, Thisbe.

Gold Bead-

armed hunters on the other side of this dagger-blade may have been the work of a craftsman steeped in the knowledge of Egyptian Art. It contrasts with the more sinewy portrayal of male forms usual in Minoan works.
Frag-

ment

of

painted
relief of

Of the lion in the painted decoration of the Minoan World we possess, among existing
remains, only the fragment of stucco relief showing part of the neck and mane, with traces of red
paint,

lion fron:i

S.E. Palace Angle.

Palace.^
Intaglio

from the South-East Angle of the Knossian Doubtless the lions of the Mycenae
also coated with painted stucco.
is

Gate were

But

types derived

the dearth of actual pictorial remains

from
painted
reliefs.

up for by a numerous
panels.

series of seal types,

made many

of ihem,no doubt, excerpted from scenes on fresco

On

an onyx lentoid from the Vapheio

Fig. 76. Seated Lion ON Lentoid Intaglio ^'.Apheio Tome.

:

tomb,^

indeed,

we

see

a seated lion upon a graduated base (Fig. 76),

feature.''

such as has been already shown to be an architectonic

a couchant lion appears on a similar stepped base.*

Elsewhere

In one case a warrior, armed with a spear and an 8-shaped body-shield

1

P of M., ?t. I, p. 333, Fig. 188. On a sardonyx amygdaloid also from

ii,

F. of M.,
b,

i,

p.

686 seqq.

Compare
3.

Figs.

the
27,

503,
*

504, 505, and p. 688, Figs. 506-8.

Vapheio tomb.

'</>.

'Apx-,

1899,

PL X,

'E<^. 'Ap;^.,

18S9, PI. X,

and

p.

167.

LION-KILLER OF SEAL
like the hunters

AND HELLENISTIC COPY

125

on the dagger-blade, attacks a lion fully erect on his hind legs.* In several cases, however, the spearman is shieldless as on the gold Type of bead-seal from Thisbe (Fig. 77). Still more remarkable and indeed hero stabbing transcending the limits of human power is the scene on the engraved gold

lion oil

-rW^W^SD^^^

bead from the Third Shaft Grave Mycenae beadat Mycenae ^ (Fig. 78), where the seal.
hero
great
is

depicted as seizing the

beast by the
it

neck and

stabbing

with a short sword.

of the most extraor-

One

dinary phenomena

perhaps

in

the whole range of archaeological

discovery

is

that the design

on

this bead-seal,

together with that

by thirdcentury

of a sardonyx bead-seal from the Copied

same Shaft Grave, apparently representing a combat of two body-shields, were revived by a Greek engraver of about heroes with great 300 B. c. on the two sides of an ivory ring-bezel of that date.^ This

Fig.

Spearman and Lton on Gold Beadseal FROM Thisbe.

Greek
engraver.

Fig. 78.

Warrior stabbing Lion, on Gold Bead-seal, Mycenae.

in a

Fig. 79.

Ivory Ring-bezel, Tomb, Canea.

Warrior stabbing Lion, on from Hellenistic

was found

others of the
'

tomb of the Canea (Kydonia) district, together with two same material and characteristic shape presenting typical Greek
^

On

a black paste of lentoid type also from

(ibid.,
is

See

my

Address

on

TAe Minoan and

the

Vapheio tomb
hunter

PI.

X,

7).

The

Mycenaean Element
Figs. 7

figure of the
^

imperfectly preserved.
p. 174, Fig.

in Hellenic Life (J. H. S., 1912, p. 281 seqq.), p. 294 seqq., and p. 295,
7,

Schliemann, Mycenae,

253.

lb.

126

CHARACTERISTICS OF LATE GREEK COPIES

epoch and
all

intaglios of that
Canea
find.

alike set swivel fashion in silver hoops.

It

Not-

withstanding the double coincidence that

here brought to light

two Minoan designs are certainly copied from the two Shaft Grave
involves, the

examples or from very exact replicas of the same with several divergencies due to misunderstanding of the originals by the later engraver.^ Since, in any case, the authenticity and considerable age of the whole group cannot be questioned, we have here clear instances of a revival by a Hellenistic
artist of

types belonging to the earlier civilization

recalling the imitation

of classical forms of which

the Italian Renaissance.

we have such repeated

illustration in the

days of

In comparing Fig. 79 with Fig. 78 the differentiation from the earlier

design

is

very instructive.

The

lion

is

less

hinder foot
'

as
'

only

in later

scenes of contest
unintelligible

sinewy and mighty. The hero's The points backwards.

Minoan shorts have become

and the

belt

is

omitted.

Finally,
is

the short-sword, impossibly directed by the hero behind his shoulder,

of the post-Minoan leaf-shaped type.
visible in the

Equally significant variations are

a, b,

companion

piece.

(See opposite, Fig. 80,

and

note.)

Many
Minoans
personally ac-

leonine types of Classical

fuller personal

Age may

thus go back to earlier models,

informed by a

acquaintance with the great beast.

to

quainted
with lions
in every aspect.

omnipresent in the Religion, as well as have been known to their herdsmen and hunters in ordinary life. Lions, under a great variety of aspects and attitudes, are a constant theme of engraved gems. Males appear caressing
lion,

The

indeed,

is

too

in the

Art of the Minoans, not

their mates, lionesses with their cubs

often they are seen lying in pairs,

looking different ways.

the possession of their
as
;

grip stags or oxen or bear

Lion sacred

toMinoan
Goddess.

on the dagger-blade two hunters seize upon the carcase with the purpose, apparently, of securing the skin. The lion's head itself an early hieroglyph is a sacred symbol, six times repeated on the border of the great Mycenae signet. The sacral
;

head down is nosing a trail, others mighty jaws, or, again, they dispute prey. Sometimes they are seen in headlong flight, sometimes they are mortally wounded in one case
lion with his

them

in their

'

The
is

intaglio

on the other side of the

its

'

her head ornamented with a large crown

'.

bezel

set

beside

prototype on the opposite

This travesty of the subject was embodied by

the artist in 'No. 313', unfortunately taken over

page, Fig. 80,

a, b.

The

original

is

on a

sard-

onyx.

This was strangely mis-described by

{Alyceiiai^ p.

by

Miichhofer {^Anfatige der Kiinst,

p.

38,

Schliemann

202) as a
'

man

'wear-

Fig. 43).

The

design, however, has

been

rightly

ing a helmet with a long crest

(the studded

published since

Helbig's

illustration
It

{Horn.

border of the shield

in a costly dress,

!)

seated before 'a

at the breast

woman

Epos, 1887
in fact,

ed., p. 313, Fig. 119).

represents,

open

and with

two warriors, one stabbing the other,

shield(Fig. 80,(7).

gold buttons' (the studs of the shield) and

who is falling backwards on his

Fig. 80.

a,

Sardonyx Amygdaloid
c.

OF Silver Swivel Ring,

300

b.

c,

Third Shaft-Grave, Mycenae b, on Ivory Bezel from Hellenistic Tomb near Canea (Kydonia).
;

copied from a in a reversed position as from an impression. Many companion piece (p. 125, Fig. 79). The 8-shaped shield of the man on the left olb is mis-shapen. The crest of the helmet of the original figure is converted into some kind of 1!.(tko%, raised, as a weapon, with both hands. The shield on the back of the other figure is turned into a kind of seat and his attitude is that of sitting. The Minoan shorts are omitted and his helmet is converted into a petasos with long locks of hair falling down behind. The seated figure wears a belt but no loin-clothing.)

(The scene on b

is

details are misinterpreted, as in the

'

'

2;

o
o H w

CD

VAPHEIO DAGGER-BLADE WITH SWIMMERS

'

127
is itself

antithetic

'

subject of a male or female figure between pairs of lions

of constant recurrence, and they appear as supporters of the Minoan Rhea on the sealings of the Central Palace sanctuary at Knossos. They guard the portal of sacred precincts and, on the Ring of Nestor', a lion is seen couched at the entrance of the Nether World and tended by the little twin handmaidens of the Goddess.
'

The Vapheio Blade with Swimmers and

that with Flying-fish.

recent discovery of remains of inlays belonging to a dagger-blade of Vapheio

the Vapheio

tomb now enables us

'

to

add representations of swimmers

to blade
^'[^;^

the subjects of this class of

metal painting'.

similar theme, as already

'

pointed out,

is

also found

among

the repousse reliefs of the silver

rhyton

'

designs

from Mycenae, where shipwrecked seamen are seen endeavouring to escape men. from a dog-headed sea-monster.^ In the present case swimmers by themselves are depicted, entirely naked and of the male sex, propelling themselves by

means of a kind of side action. The fragments, of which there are five, are shown in Fig. 81, a, and a full restoration by Monsieur Gillieron, fils, is given The human figures and the tongue-like convention for rocks in Fig. 81, b.^ above are of gold plate inlaid in the bronze, the lines and dots being supplied by niello. The wavy outline indicating the sea below is produced by inlaid gold wires. The most curious feature is the crown of the head of the central It figure, summarily rendered as a mere disk to be filled with dark niello.

may be observed

that this

also characteristic of a

The

flying-fish

summary representation of the heads of figures is Late Minoan class of intaglio designs. of the other series of inlajs, belonging to a bronze
their

Flying-

weapon from the Vapheio Tomb/ were shown without

wings in Tsountas' original illustration. A further fragment has since been noted, which has enabled Monsieur Gillieron, fils, to make the complete restoration
1 ^

vapheio
b'^de.

p.

96 above, and Fig. 54.

to the oxidization of the remains

shape of

Owing

these inlays escaped the notice of Tsountas in

his publication of the contents of the

flying-fish that had for some years been recognized among the remains of the tomb. These, however, are of a very different

Vapheio

scale

tomb
and

in 1889.

sieur Gillieron,
full

They were observed by Menfils, and their first publication

due
to

swimmers.
correct.
^

and have no obvious connexion with the Monsieur Gillieron's view that
is

they belong to a larger blade

doubtless

description was

Mr. Sp. N.

Marinatos at present Cretan Ephor of Antiquities,

p.

See Marinatos,
PI.

op.

cit.,

pp. 65, 66 (Fig. i)

in

Essays on Aegean Archaeology,

and

XI,

5,

5, a,

and

restoration a.

The

Mr. Marinatos, however, in his restoration (pp. cit., p. 67, Fig. 2) endeavoured
63 seqq.
to bring into the design

resemblance to the Phylakopi fresco and the fai'ence fish of Knossos is there pointed out.

the gold inlays in

128

FLYING-FISH ON
a.

METAL INLAY AND FRESCO

shown in Fig. 82, the swimmers

'

Tliese, in his opinion, belonged to a larger blade than

'.

It will

be seen at once that the

flying-fish

here depicted presents a close

Fig. 82.

a.

E, GiLLiERON, FiLs)

Inlaid Design of Flying-fish on Vapheio Bronze Blade (restored by b, Flying-fish from Phvlakopi Fresco.
;

resemblance

in style to those of the

well-known Phylakopi fresco (Fig.

82,

b),

and, again, to those of the faience panel found in the

Temple Repository

at

Knossos, and their approximate date

later borders of
It

may

thus be placed within at least the

M. M.

III.

cannot be doubted that both designs are based on the

common

flying-

fish of

the Mediterranean, Exocoetiisvolitaiis

the Swallow-fish (^^Xi^ovoy^apioi

horn-like appendage below
' '

the native Cretan).

A live specimen of this in the hands of a fisher lad is reproThe

a, is itself

duced
the

in

the photographic figure (Fig. 83).

Fig. 82,

barbel seen dependent from the lower extremity of the mouth in the case of young flying-fish.'^ In the inlaid design, however, the artist has in other respects gone further
gill in
'

an adaptation of the

Cf. A. C. L.

H.

Giinther,

An

Introduction to the Study of Fishes,

p.

622.

FLYING-FISH ON FRESCOES
in

AND INLAYS
The

129
spots,

the decorative
in the

direction than the painter of the fresco.

especially,

margin of the wings, can hardly have been suggested

-^.

^^:

-ClS

Fig. 83.

Flying-fish in

Hands of Fisher Lad

(Naples).

by the small and very

visible in Fig. 83.

faint

spots
little

on the wings of the

original,

just

Even

the

blue spots

scattered over the wings of the other Medi-

terranean species, Exocoetus Rondeleltii, cannot account for these.

that,
It

seems probable

as in the case of flowering plants like

'

those on the walls of the

House of Frescoes

',

we have
lights,

here another instance of the eclecti-

cism of Minoan Artists who, according to their

improved on
looks as
if

Nature
this

and produced
taste. It cer-

hybrid forms to suit their own

tainly
in

case

the

spotted

Fig. 84.

Flying-fish on Amygdaloid Bead, Kli'tara.

fins rivalling

margin of the wings had been suggested by

those of a species of Gurnard
flying-fish.
III.

fish

with wing-like

those of

I30

LILIES

ON FRESCO BANDS AND METAL INLAYS

compare with the
inlaid design that

It is interesting also to

on a cor-

nelian bead-seal of amygdaloid type,^ in the free style of the early part of

the

New

Era, on which a similar barbel-like appendage

is

visible (Fig. 84).

Inlaid Lilies
Lilies inlaid

on Mycenae Blade derived from Fresco Band.

on
in

We
style.

are led to another close parallel between these naturalistic designs

blade

metal-work and those of M. M. Ill wall-painting, including the Miniature

based on
fresco

The

inlaid

bronze dagger with a

band.

gold-plated hilt from a

Mycenae Shaft
midrib of the
lilies,

RED

BLUE

Grave shows on the

peated
of the
in

flat

blade a series of finely inlaid

re-

repousse work on the plates

hilt.

This

is

here reproduced

opposite (Fig. 86) from the restoration

painted stucco M.M.III closest relation to certain parallels. pieces of this time, on which lilies are
:

Lily inlays

by Monsieur But this

Gillieron, pere.^
inlaid design stands in the
Fig. 85.

Miniature Fresco Fragment WITH Rows OF Lilies. From N.W.

OF Palace, Knossos.

similarly repeated.

fresco fragment

from the Palace (Fig. 85), found in association with the embroidery designs their red described above,^ shows a slightly curving series of white lilies on a blue smalt ground, stamens coalesced in the conventional m.anner with undulating white beads below. The dagger-blade itself, moreover, has supplied the basis for the restoration of a dado band, showing white lily flowers with yellow stamens on a crimson ground, naturally treated as on This the blade, from a room of the earlier Palace at Phylakopi (Fig. 87 *).

room opened out

'

of the Pillar

Room,
*

in

which the

'

Flying-fish

'

fresco

Acquired by me at Athens in 1896 and said to have been found at Klitara (Kleitor),
in Arcadia.
*

From Mr. Theodore

64.

Fyfe's restored draw-

ing.

Cf. Bosanquet, Phylakopi, pp. 75, 76,

and

Fig.

The espaced
lilies

distribution

of these

coloured reproduction of the best prehilt

is

designs of

recalls a

fragment of a bronze

served part of the blade and

in

given

sword-blade from Thera, presenting a series of

inlaid gold axes.

Perrot et Chipiez,
is

vi,

PI.

XLX,

5.

The

technique
1903,
''

described by Karo, Arch. Anz.,

into a niello plate.

These are of fine gold, set IntheCopenhagen Museum, VIII {Memoires de la du Xord, 1872et Chipiez,

p.

160.

AVorsaae, Aarbeger for Nordisk Oldkyndighed

og Historic,

p.

37 seqq.
lily

of this

From the undulating bands pattern we may infer that it was also
It

1879, PI.

Societe royale des Antiquaires

7,

an embroidery design.
to
'

belongs, therefore,

p.

234 and

PI.

VIII); Perrot

Miniature

'

fresco designs of that group.

vi, p.

974> Fig- 55-

MYCENAE DAGGER INLAID WITH

was found, and
like
it

LILIES

i^i

there brought to
,-.-

,.

,^,

and the other important fragments of painted plaster light, the lily border must be regarded as the work of a Knossian artist of the M. M. Ill

-..^^,

Terlod.

In the case of the dagger,

too, the resources of the metal-

worker were such as to enable him to suggest the varying tints

of the flowers.

The

petals are

here executed

in pale electrum,

and the red anthers are distinguished from the filaments by a The greater admixture of gold. background of the design was
here a hard niello plate, consisting
of an alloy of silver and iron,
serted
into
in-

the blade

and into

which were hammered in a cold state the gold and electrum inlays. In the last cited examples
it

is

possible to trace a definite

relation

between fresco designs

more or less of the Miniature class and such /ours de force oi inlaid metal-work.

The endeavour,

within the limits of the technique,

to reproduce the actual colouring

was in itself the same as that which inspired

as well as the design

the painter's Art.

It

cannot be doubted that

Masterpieces of
inlaid

the living record in

Inlaid Bronze Dagger with Gold-plated Hilt (as restored) Mycenae.
Fig. 86.
:

Greek Epic

of great traditional masterpieces of intarsia work imply on the part

objects in their lays a first-hand

metal-

work
recorded
in

of those who first commemorated such knowledge of Minoan works of this class.
since,' that the

Greek

epic.

Helbig rightly pointed

out,

long

Phoenician metal-work of the Sixth and Seventh Centuries

Homerische Epos (1887
ed.), pp. 408, 409.

'

132

EPIC RECORDS OF

MINOAN METAL INLAYS

does
bowls that show a partial overlaying not supply by any means an

before our era

even

in the case of the

of another metal with a gold plate

adequate source for the varied details and the delicate nuances of con-

FiG. 87.

Frieze of Lilies, Phylakopi (restored)

M. M. Ill Work.

Implied
ledge of

Minoan

Homeric descripby Hephaestos. What Other Art, indeed, could have rendered such a scene as that of the vineyard there described ? The impression conveyed by the poet's words IS that of one wlio had actually in view some e^eat work of intarsia in metal executed by similar methods. Also he set therein a vineyard teeming plenteousl)' with clusters, wrought fair in gold black were the grapes, but the vines hung throughout on silver poles. And around it he ran a ditch of cyanus, and round that
trasted effects in the metal inlays, such as
tion of the Shield of Achilles, forged
find in the
'
:

we

a fence of

tin.'

The

contrast here ot the gold, the black grapes, and the silver poles

curiously recalls the effect produced on

skilful introduction of

some of

the above designs by the

niello in the details.

ruddy gold, pale electrum, and

field,

In

the case of the ploughed

described shortly before,

suggestion of the dark

niello, which

served both for

it is

we have the same the background and details

by
as

of the inlaid dagger-blades, and here, again,

'

set off

details in gold.

Iliad

y.v\\\.

translation,

p.

562-5 (Lang, Leaf and Myers' It must be noted, 383).

though used by the Minoans

for their

bronze alloys, has not as yet been

to
exist
inlays.

ascertained
in the

separate

element

however, that

tin,

Minoan

HOW HANDED ON?

'

133
field,

Furthermore, he set

in the shield

a soft

fresh-ploughed

rich

tilth

and wide, the third time ploughed, and the ploughers therein drave And the field grew black their yokes to and fro as they wheeled about. behind and seemed as it were a-ploughing, albeit of gold, for this was the
. . .

great marvel of the work.'

Such descriptions like so many other appurtenances of the Heroic Age in Greek epic carry back the reminiscences of Minoan life at least to the early part of the Sixteenth Century before our era. This marvellous technique in metal inlay so far as its existing remains show did not survive the epoch that marks the acme of Minoan Art. Bv the date even of the first J^ appearance of the Achaeans, whose bards celebrated these fabled works, as an historic factor in the Aegean basin, the period of its vogue was already left behind. As to the tribes who entered the Greece that was to be some

Yet the
extinct at '"".^ ^

'

Achaean
invasion.

fifteen generations later

than

it,

a practical acquaintance with such delicate

manipulation of metals
painter's art

was

in its results, as

we have

seen, almost rivalling the

out of the question.

Their armourers, indeed, had for

the most part to deal no longer with bronze

the

Minoan
is

basis of these

works

but with hard

iron.

Neither can we suppose that the knowledge that

epic of such masterpieces of intarsia
rifling of ancient treasures or to the

displayed in Greek

work could have been due to the mere chance discovery of tombs. Like many

other details that are there supplied of Minoan

days, the descriptions themselves

the objects themselves were in

life and culture in its greatest must be taken to date from the time when use, and when the technique that they imply

was
'

still

practised.^
549
,

Iliad
jv
,

xviii.
/
.

tion
oe iuiKuv ^ ', ', paD/xa tctvkto.
S.V
, /

may have handed on from

,

their

Minoan

rj

0 jxiXaLViT
, ,

, , a OTrL(Tt)iv, aprjpofjiivrj
.

masters descriptive materials '^ preserved in their

\pv(rLrj Trep

iovaa

to

jv

>

own
,

oij irepi

ancient lays, and these in an adapted form

in turn
,

have
Lang, Leaf and Myers' translation, pp. 382,
383.
^

The

process

been embalmed in Greek may indeed have begun

epic.
early.

In

my

Address on TAe Minoan and Myhave invoked as an explanation

That there were Greeks in Hellas before the coming of the Achaeans is quite possible.

cenaean Element in Hellenic Life {J-H. S.,\qt.2,

p.

They may even have formed

lation before the actual

part of the popu-

274 seqq.)

conquest of large Main-

of these

population of the

such as

phenomena a bilingual stage in the Morea and Northern Greece we know to have been the case, down to
In
this

land tracts by the Minoan Cretans.

diffusion of
'

The

early

Minyan ware from a N.E. Aegean

'

source points to a very primitive line of connexion,

a late Classical date, in Crete.

way the

in the direction where we should most

old

'

Hellado-Minoan

'

or

Mycenaean popula-

naturally seek a proto-Hellenic population.

 74-

Pictorial
:

Religious

Subjects

Miniature Stvle World.

the 'Ring of

Nestor' Glimpse

on Signet-rings, reflecting of Minoan After-

on Class of Signet-rings dependence on frescoes ; Frescoes of religious nature ; Mycenae painted tablet with descending God; Descending deities on Signet- rings ; Landscapes with rustic cult comPictorial Religious
Subjects

pared with Ponipeian paintings ; Sacred Spring and Trees on ring; Alarine subjects ; Descetidin^ God on painted larnax ; Offertory scenes on H. Triada Sarcophagus ; SarcophagaV Art; Origin of Minoan signet-ring from bead'
' '

seal

primarily

composition of design ; Ecstatic efect of fruit of Sacred Tree ; Funereal significance of body-shield ; Parallel design on Mycenae ring ; Similar ritual refreshment of Goddess ; Separate scene of mourning at

Vapheio

Tomb Dual

designed for suspension

Mourning

scenes

on signet from.

grave hung with

scenes nearer to
affiliation
;

little

shield ; Association of Goddess with boy-God ; Religious

to the

iheChristianthan

Classical Spirit

protection of divinity

made for use in this the The Ring of Nestor' circumstances of finding and recovery ; Arrangement of bezel in compartments and zones by trunk and branches of Tree of the World ; Comparison with Yggdrasil and Tree of Paradise ; Interpretation of design ; Butterflies and chrysalises symbolical of
Signet-rings
;
'

Syrian andAnatolian next ensured World and

'

'

'

'

Resurgence;
Goddess;

Young

couple reunited in death;

;

Chthonic aspect of

Minoan
Initia-

Her

life-giving power

Lion Guardian of Under-World ;

;

tory examination by Griffin as Chief Inquisitor

eschatology
into

First insight into

Minoan

true Elysion, in contrast ivith Hades ; Translation of design ; Miniatm^e Fresco ; Reflection of an original masterpiece in zvall-painting representing the After- IVorId.

Pictorial

PiCTORiAL elements on a more microscopic scale enter largely into the

composition on engraved gems and especially of signet-rings.
It

subfectT

has been

on

class

already shown to what an extent the sports of the bull-ring, the bull-grappling
scenes of the open, the wrestling and boxing bouts, and other scenes were
thus epitomized within a small compass from larger or smaller originals
existing on the wall.^
'

rings.

Cf. F. of M.,

i,

p.

669

seqq., 31,

'

Seal

Types and

their Relations with Greater Art.'

135
Pictorial Religious Subjects

on Signet-rings.

In particular there exists a whole class of gold signet-rings, derived

mainly from sepulchral

deposits, presenting scenes of a religious nature

style.
It is

and executed

in

the

same picturesque

a fair conjecture that the

subjects of these were in

many

cases excerpted from paintings on the walls

Fig. 88.

Painted Plaster Tablet from Mvcenae.

It has,

of shrines, analogous to the Miniature Frescoes described above.

indeed, been already pointed out that the fresco of the

Dependfrescoes,

present series

depicting the
illustration in

Sacred Grove and Dance finds its best supplementary the intaglio design of a gold ring found in the first discovered
' '

of the built tombs at Isopata.^

group of Miniature paintings is itself well brought out by the Columnar Shrine of the Goddess which forms the central feature of the panel displaying the Grand Stands, the spectators on which are looking on at some festival in her honour. Elsewhere, and identical in scale with the true Miniature Frescoes of Knossos, an example of a religious subject is supplied by the painted plaster tablet found by
religious connexion of this
See above,
p. 68, Fig. 38.

The

Frescoes
ligious
"^'"''s-

136
Mycenae
with descending God.

THE DESCENDING DIVINITY

at

Tsountas

Mycenae

(Fig. 88).^

On

this, in

a scene containing two female

votaries and an altar,

identified as an
_

Dede1ties"on signetrings.

may be discerned what by other analogies can be armed divinity in this case female, as is shown by the white skin brought down as elsewhere by due offerings and incantations, and largely covered by a great 8-shaped body-shield of the Minoan class. The descending divinity, male as well as female, seems also to

.'

...

^ave been a recurring subject of signet-rings of the present class, which had perhaps a specially sepulchral distinction. It has been already mentioned that one of the first relics brought to light in recent years from the site of Knossos was a gold ring belonging to the present category on which a small armed God, invoked by a female votary, is seen
descending before his obelisk
in front of a pillar

sanctuary enclosing

in its

precincts a sacred grove of fig-trees.^

On

two Zakro

sealings,' apparently

impressed by a signet-ring of the same type, a small female figure appears

above the sanctuary, while a ministrant on the other side seems to be engaged in some ritual function beside an altar with several horns and
in the air

a flower-like object.

On
hovering

a gold ring in the Candia

in

Museum

the Goddess,

still,

apparently,

above a clump of lilies, receives the adoration of a female ministrant on her left, while to the right another handmaiden grasps the boughs of the sacred fruit-tree standing within its little enclosure. On a gold signet, apparently from the Vapheio tomb, now in the Ashmolean Museum/ the Goddess, distinguished by her rich dress, seems to be bringing down by dancing and incantation a boy-God who holds out a bow and dirk, while, to right, a more plainly attired female kneels beside a jar-like object, using its rim to rest her head on her arm in a mourning attitude. The figured design is in this case above a base with horizontal lines marking
the air

the architectonic character of the original.

The descending
^

warrior divinity seen, as on the painted tablet, holding

Mykenai
and
Fig.

G. Rodenvvaldt,
Rlitth., xxxvii,

Votivpincix aus

48.

In

this

case the descending

is

lyAih.

191

2,

PI.

VIII, from a

figure wields a spear,

shield.
^

but there

no bodySealings

drawing by Monsieur Gillieron,

seqq.).
out,
is

and p. 129 The figure, as Dr. Rodenwaldt points clearly shown to be female by the repfere,

D.

G.

Hogarth,
pp.
i,

The
Fig.

Zakro
i).

(J-H.
''

S., xxii,

2,

maining traces of the white limbs.

is

The

tablet

Martin See
cf.

Nilsson,

77ie J/i/ioan-A/ri-e/iaea/i
p.

cm. high, and 19 cm. broad. The figures are about 10.3 cm. high, only slightly
11-9

Jie/ig/on, F], 1,

4 and
ii,

227.

J",

of AL,

Pt. II, p.

842, Fig.
3,

5.57,

higher than the ladies of the

'

Temple
115,
Cult., p.

P'resco.

and

Nilsson, op.

cif.,

PL

I,

and

p.

296,

F.

of M.,

i,

p.

160, Fig.

and

cf.

Fig. 85.

A. E., Myc. Tree and Pillar

72 seqq..

RELIGIOUS SCENES ON SIGNET-RINGS

a spear and 8-shaped body-shield, reappears in the
field

137

of the well-known

signet-ring from Mycenae, where the affinities with painted designs are specially
manifest.

The Minoan Goddess

lily-crowned and holding poppy capsules,

is

as on an analogous gold signet-ring from Thisb^,

seated beneath her

sacred tree, from which one of her

little

twin handmaidens plucks her a

lilies in

branch of

fruit.

The

votary beyond, with the posy of

her

left

hand,
holds

here recalls the figure of a wall-painting from the Minoan Thebes

out a similar bunch.

who

The
wavy

heavens, symbolized by the Sun and Moon, are

if

shut off above by a

field.

curve, as

the scene itself lay in

some Elysian

In the case of an important Palace signet at Knossos, of which, besides

impressions, a clay replica was actually found, ^ the refreshment
is

no longer
'

supplied by these Hesperid

scape, drink
is

fruits.

To

the Goddess, seated in a rocky land'

offered in a funnel-shaped vessel, resembling a

rhyton of that

type, while a mystic circle appears

this ministration is

above

its

rim.

In slightly variant forms

repeated on clay impressions of signet-rings found at

Zakro

and Hagia Triada.^

indications of landscape given on

The

many
rocks
rustic

of these signet designs, the Land-

and
cult

trees,

and even the

often
illus-

scapes with
rustic

cult comtrated, with its little pillar shrines, pared withPomcuriously recall that which meets peian

itself so

the eye in thebackgroundofmany

paintings.

Pompeian

wall-paintings.

It is

an undoubted fact that in country places throughout the Classical

world,
Fig. 89.

much

of the earlier pre-

Intaglio on Signet-ring

Chamber

historic cult such as in the

West

Tomb, Mycenae.

we

associate with dolmens and menhirs had survived in an al-

most unchanged form.

ever,
is

What

is

specially suggestive in this connexion,

how-

that there exists a widespread class of

Greco-Roman

intaglios

which

had formed the bezels of finger-rings that stand in direct relation to the rural religious scenes painted on the walls. It may well be that the Minoan examples, including those of a more elaborate character, stood In a similar relation.

Among special
1

types, that reproduced In Fig. 89

may best be
^

interpreted Sacred
spring
trees

as illustrating the adoration of a sacred spring descending from a height within and
P. of M.,
ii,

Pt. II, pp. 767, 768,

'

and

Fig. 498.

Ibid. Fig. 500.

Ibid., p. 768, Fig. 499.


138
a walled temenos, and
enclosure.^

'SARCOPHAGAL ART'
its

source sheltered by three trees within a

little

Such a

spring, as

we now know,
in

existed at

Mavro

Spelio

immediate contiguity with a very Its inner channels and artificially cut basin, early series of rock tombs.^ beneath the rock shelter at its point of emergence, are still visible, and fig-trees, such we may imagine are indicated within the little upper enclosure of the intaglio, still shoot from the rock. But the water itself, the falls of which from the height seem to be indicated on the ring by the central

on the height East of Knossos,

upright line of dots, has long disappeared

another evidence of the desiccating

Minoan
days.

process that has affected the Cretan climate since

Marine
subjects on signetrinCTs.

Another

class of these gold signet-rings displays religious

scenes of
in

a marine character.^

On

one we see the advent of the Goddess

her

barque at some sanctuary on the coast, bearing with her her sacred tree. On another signet-ring, from the Harbour Town of Knossos, her barque is
putting off from the site of her pillar-shrine, while above
to votaries on the shore, the .Goddess
it,

waving farewell

and her sacred

itself,

tree beside her appear

as

if

floating in the air.*

is

The

sacred tree

generally within a pillared

enclosure,

a constantly recurring feature.

Descending God on
'

larnax

'.

Offertory

scenes on

H. Triada
sarco-

phagus.

together with the fresco panel It is an interesting circumstance that from Mycenae a near parallel in painted design to the descending figure larnax of with the body-shield is supplied by a clay sarcophagus or L. M. Ill 3 date, from a chamber tomb at Ligortino in the Knossian backcountr)'. On the other hand, of actual fresco painting on a sarcophagus, a unique example is supplied by that of L. M. Ilia date from the Hagia Triada tholos.^ Here, on a scale once more distinctly greater than that of the Miniatures', we see scenes of offering and sacrifice in honour both of the Double Axes, with the settled birds as in divine possession,^ and apparently It is to be noted, moreover, that in this case the of the departed himself. arrangement of the painted designs shows a curious conformity with many of The action, in fact, is directed to two separate goals on these signet types. the right and left extremity respectively, so that there are really two scenes, the background itself being divided into three fields, white, blue, and white a variation characteristic of larger frescoes on walls of halls and corridors.

'

'

'

In
(_/.

my Myc.

Tree

and Pillar
I

Cult.,

pp. 85,

'

See F. of M.,

ii,

Pt.

I,

p.

245 seqq.

86

H.

S., xxi, pp. 182, 183).

had suggested

Ibid., p. 250, Fig. 147, a,b.

that the line of dots might represent a path

"

Ibid.,

i,

p.

438 seqq., and Figs. 316, 317

A?it.,

(cf.

descending from a summit sanctuary.

^

Paribeni,
Spelio

Mon.

xix,

Plates I-III,

and

See E.

J.

Forsdyke,

T/ie

Mavro

pp. 5-86).
"

Cemetery at Knossos{B.S.A., xxx),p. 243 seqq.,

See P. of M.,

i,

p. 223.

and see Plan,

p. 249, Fig. 3.

EVOLUTION OF MINOAN SIGNET-RING

This
light,

139
'

specifically

'

sarcophagal

'

art,

as yet only sporadically brought to

parallels to these religious ring

Sarco-

may
From

in the future

supply

many new

Art.

subjects.

the sealings of Zakro and other sources,

it is

clear that the cult of

the Double

Axes

illustrated thus in sepulchral painting

was

also taken over

into signet-rings.

There have by
chral

this

connexion

time come to light

mostly

in a distinctly sepul-

whole series of gold signet-rings, such as the above,

presenting religious scenes.

The

bezels of these, with their

somewhat

elongated oval form, are better designed for containing the elements of such
pictorial compositions than the ordinary

engraved bead-seals whether of

lentoid or amygdaloid type.

Fig. 90.
b
I, 2,

Pendant Signet, Ivory

Evolution of Minoan Signet-ring: a, Tubular Gold Bead (M.M.I); c. Ideal Intermediate Type d. Signet-ring of Minoan
; ;

Type.

Evolution of Minoan Signet-ring.

The
the bezel

history of these

Minoan

signet-rings
all

is

itself of special interest Origin of

and explains the

is

fact that alone

among

known

classes of finger rings

signet-

here set at right angles to the hoop.

that

It also

accounts for the ""gfro

seal.

peculiarity

the

hoop

is

often abnormally small,

and was primarily

intended for suspension, not for wearing on the finger.

That
example

this type of ring

it

was

in fact

derived from a tubular bead with

inferred from a derivative

a signet-plate set on
in ivory,

longitudinally,

may be

standing in very near relation to an original metal form

I

of this kind found in a M. M.

deposit in the primitive tholos of Platanos.

it,

A
^

sketch of

this,

with a tubular gold bead beside

first

is

given
J.

in Fig. 90,

b}
PI.

This evolution was

given in

pointed out by
p. 43.

me

in the

Ring of Nestor, ofc,

is

The

ivory

Tombs of Mesara LVII, 472, 473.

(transl.

P.

Droop),

example

Xanthudides,

Vaulted

'

I40

MOURNING CEREMONY WITH ECSTATIC DANCE

it is

important to observe that the reversed ants that form the intaglio design, represent a Cretan adaptation of the reversed lions on a class of

Here

Egyptian button-seals of Sixth to already shown, had a well-defined reaction on Cretan sphragistic types, illustrated by the double sickle
'
'

Eleventh Dynasty date, which as

'

series.^

The

triple

moulding of the
itself

original gold

beads

survives in

that which generall)'

marks the hoops

of signet-rings of this class

the close of the
transition
is

down
ill

to

Minoan Age.
in Fig. 90,

The
by
c.

supplied in Fig.

the ideal form

Primarily designed
for sus-

shown

The

evidence thus afforded of

Fig. 01.

Gold Signet-ring fro.m Vapheio Tomb with Religious Scene (-^).

the derivation of the most topical of

pension.

Minoan t)pes of

signet-ring from bead-seals

made

for suspension,

further

obviates the necessity of supposing that these rings were specially designed
in icsuni niorliiornm to be fitted on to the fingers of the skeleton.^

Religious Scenes on Signet-rings combining Mourning Ecstatic Dance.

Mourning scenes on signets

Ceremony with

At

times,

we may

discern, within the

touch of the true

a gold ring

artist

and of a

fine

narrow bezel of the signet, the composition, clearly taken over from
in the

from My- the painter's Art. cenae and

Vapheio
tombs.

Nowhere is this more perceptible than from a Mycenae tomb (Fig. 93, below), the
its

design on
in relation

subject of which

has already been referred to on account of

to certain Syrian affinities in

high importance

Minoan
91,

religion.

The
Vapheio
ring.

The

subject here stands in a close relation to that of a gold signet

from the Vapheio tomb,^ Fig.

ritual
'

which

itself

follows on to the group alread)'

referred to above, representing an

armed

divinity brought

from the realms above to join his consort or votaries.

down by due In more than

The
ordinary

See

my

Table, P. of

31.,

i,

pp. 123-5,

and

Town

of

Mycenae

is

12

mm.

Fig. 92.
'^

had myself been led

owii'ig

at first to this con-

hoop ranges from about 17 mm. to 19 or more for a man.

^

for a

woman

clusion

to

the small diameter of the

in

Tsountas,

'E<^. 'Ap^.,

hoops of signet-rings found

the Isopata

p.

170;
p.

Tsountas
;

1889, PL X, 29 and and Manatt, Mycenaean

Z'.-J r/, cs-r., vi,

Cemetery {Tomb of
Ixv), pp. 12, 13).

the

Double Axes {Arch.,

Age,

225

Perrot et Chipiez,
;

hoop was 13

The mean diameter of one mm. One from the Vapheio

847, Fig. 431

Reichel, -Si^OTfrnc/^g Waffen,

p. 6, Fig.

Furtwangler, Ant. Gemmen,

PL

II,

Tomb

is

13

mm., another from the Lower

19

Fritze,

Strena Helbigiana,

p. 73, Fig. 7.

CHRYSALIS OF RESURGENCE ON VAPHEIO RING

141

one case, as on the painted tablet and larnax, and on the great signet from Mycenae, an armed, descending divinity is covered by an 8-shaped bodyshield. On this Vapheio ring the divine hero of the scene himself is
wanting, but his great body-shield
field
is

depicted against the light border of the

on which

is

visible a small female figure^ prostrate as if in

an entranced
cult,

attitude.*^

To

leave

no doubt as

to

the character of the

a small

clearly

symbol appearing in the field above, must in the light of present knowledge be recognized as a Minoan combination, of which we have other examples, of the Double Axe with the Sacral Knot.^ It seems possible that the subject really divides itself, as in the case of the other Minoan designs, into two successive phases of the same scene,
This, as already pointed out with reference to the inlaid designs in the

Dual
tki of^'"
'^"'sn-

dagger-blades, and
the Vapheio Cups,

more
is

itself

painted stucco originals,

below in connexion with the composition on due to the dependence of these smaller works on which were divided into compartments owing to the
fully

necessities of the fresco technique.

In that case the central figure on the Vapheio signet, in

whom we may

with

some

probability recognize the

Goddess who seems

to

be

whirling round, with flying locks of hair, in an orgiastic dance,

may be one and the same

religious act,

with the female personage shown on

a smaller scale, ex hypothesi belonging to another scene of this

and who there

lies

prone on the great body-shield.

Above

the dancing figure appears a spray and an object to

which a high interest attaches. This object, of which an enlargement to about ten diameters is given in Fig. 92, suggests Fig. 92. Chrysathe wingless body of an insect with two prominent eyes, and lis Emblem of its resemblance to a chrysalis, such as the gold specimen VAPHioRiNG(J3a). from a Mycenae grave illustrated below,* is unmistakable. Appearing as it does in the field above the head of the Goddess, it supplies a remarkable parallel to the chrysalises there associated with

'

Tsountas in

his original

account described
'

'^

On

the shield as a
p.

medium

of possession.

the prostrate figure and shield together as

object
tionate

an

See below,

resembling
size'
('E(^.

an

insect

of

disproporp. p.

'Apx-j

1890,

180).

314 seqq. ' See P. of M., i, p. 43 1 seqq., and Fig. 310. In Myc. Tree and Pillar Cult, pp. 80,
played
81 [178, 179J, being still unaware of the part by the Sacral Knot in Minoan
'
'

189) recognized the shield but took the figure for a

Mayer {/ahrb. of Arch.

Inst,,

1892,

and Furtwangler accepted this view. In my Myc. Tree and Pillar Cult, p. 81 {J.H.S., 1901, p. 179) what I believe
crested helmet,
to

symbolism,
legs

had compared the arms and seen on Egyptian and Hittite versions of
I

the
*

'

Ankh

'

(see op.

cit..

Fig. 54).

be the true explanation was supplied.

See below,

p. 151, Fig.

102.

142

ECSTATIC FRENZY FROM JUICE OF SACRED TREE

butterflies
there,
too,

seen

in

a similar relation
definite to

however,

have a

on the 'Ring of Nestor '.^ which On the Vapheio ring, specific form.

we have every warrant

regard the chrysalis as an

plucks
a

emblem of
fruit

resurgence.

On
the

the

left

of the Goddess a male attendant

from

sacred tree, rising

up from behind what seems to be a baetylic

stone of subconical form.
Ecstatic effect of fruit of sacred
tree.

This

action,

which

recalls that

on the great
is

Mycenae

signet and else-

where, and

again de-

companion scene displayed on the companion signet (Fig.

picted in the
93),
is

of special ritual
It is the juice
fruit, like

Fig. 93.

moment.

Religious Scene of INIourning by Grave and Ecstatic Dance on Gold Signet from Mycenae (f).

of the sacred

the So7na of the Vedas, that supplies the religious frenzy, and at the same

time implies a communion with the divinity inherent in the

P'linereal
signifi-

tree.

cance of

bodyshield.

two thrown into an ecstatic frenzy by the juice of the saci'ed fruit. In the second she falls entranced on the shield of her male consort. Like the early gravestones at Falerii, for instance, in the form of the Italian oval shields, the shield itself as thus set on one side with the mourning figure resting upon it,
Thus, according
to

the

reading

of

the

evidence,
the

there

are

successive scenes in this representation.

In the

first

Goddess

is

surely indicates the death of

its

owner.^

We
on

are brought, in fact,

into

a religious domain, of which Crete and Syria alike formed part, where
a mortal but resurgent
Parallel

God

forms a principal

figure.

this Vapheio signet is afforded by that from a tomb at Mycenae shown in Fig. 93, ^ to which attention Mycenae ring. has been already called on account of the artistic feeling that it displays.

close analogy to the representation

design on

'

See below,

p.

148, Fig. 96.

the general lines of the

interpretation there

'^

We may
I first

recall the slain figure

covered
stela.

given.

It is

possible, however, in going over

with the body-shield on the

'

Mycenae

the ground again to modify

to supply

some

details

and

described these rings in

i\Iyc.

Tree

new comparisons.
of the

The

idea of the

and Pillar

Cult, p. 78 [176] seqq., and, after

still

'duality'
clearer.

types

also

makes matters

thirty years of fresh discoveries,

adhere to

MOURNING FOR MINOAN ADONIS

Here, too, the scene

143

the

arrangement of which

is

reversed

divides
of the
similar
,-efresh-

itself into two separate episodes.

The

first

of these on the right shows an

left

almost exact conformity with that which occupies the centre and
field in

the other case.

male attendant
in

is

pulling
its little

down

a branch of the

sacred fruit-tree which in this case stands in

within
it.

enclosure with a pillar

analogy

The Goddess, beyond, may represent hunger,^ seems

her ecstatic trances

an attitude that according to primitive

to

Qo^'j^ggg

be here waiting for the

fruit that

shall inspire

or,

indeed, she
in

taken of the sacramental refreshment and be

orgiastic dance similar to that of the

have parthe act of starting off in an

actually

may

indicate the
left.

boundary of

companion figure. Two curving lines high heaven above and a leafy spray is seen to the
Is occupied by a separate on the Vapheio ring but divergent in repeating, in this view, the Goddess on the

The remaining
detail.

part of the field to the left

that

Separate

scene, curiously parallel with

niouming
^^^^''^
with
little

Here the female

figure,

right, leans
pillar shrine

forward over the balustrade of a

little

enclosure resembling the

on the opposite side of the

enclosure Itself
is

field, in

an attitude suggestive of deep

first

mourning.
of which

The

divided into two compartments, in the

hung, as was usual

Minoan

in shrines,

with beaded festoons

is

appears below

a short stone pillar.

In the second compartment

a miniature but clearly

on which the prostrate figure is seen on the Vapheio signet. May we not here trace a variant form of the same religious Idea, in which, however, the departed God a Minoan Already we have seen the Goddess AssoAdonis was of more tender years ? associated not so much with an adult warrior divinity, as with an armed boy- Goddess God. An ivory figurine, to be described below, shows him wearing a tiara p"j ^'^' similar to that of the 'Boston Goddess', and, on a Late Minoan ring-type, the child stands on his mother's lap, in a scene that curiously anticipated the Adoration of the Magi.* In the little pillar within the enclosure of Fig. 93 we must certainly recognize the tombstone of the child-God.^ This, indeed, brings us near to Knossos, where the traditional tomb of the Cretan Zeus was pointed out, down to late Byzantine times, on the peak of Juktas.* In these and kindred compositions we seem to stand in a more Intimate Religious connexion with the later World than with the Intervening Classical Age. nearer
defined
shield of the
class as that

same

The
^

Religion

Itself

stands closer to that which, from the days of Constantine

' '^^

Christian

SeeMyi:. Tree and Pillar Cult,

p.

79 [177],

cently acquired by
=

me
I,
i,

from a tomb
p.

at

Thisbe.

n. 2.
'^

P.of M.,

ii,

Pt.

278.

See below,

p.

471, Fig. 328.

It

was

re-

See F. of M.,

p.

153.


144
than
to the Classical
spirit.

VALUE OF RELIGIOUS SCENES ON SIGNETS

its

onwards, has kept

while gaining
still

hold on a large part of the Mediterranean

World

vaster regions bej'ond the South Atlantic.

The pathos

Syrian

and Anatolian
affiliation.

mourning figure over the little grave coinpares rather entombment. Here at least we are far from the snows of Olympus, and, indeed, even to find subjects of the sentimental class to which the above belongs, Greco-Roman Art was itself forced to stray into the Anatolian and Syrian religious domains of which Crete in the most primitive stage was itself a province, and to illustrate the tragic tales of
that breathes in the

with an Italian pieta or

Attis or Adonis.
Signetrings

made
use in
this

for

moment contended that this picturesque religious class of gold signet-rings was specially made for sepulchral purposes. They often conIt is

not for a

sist

world
next.

of solid gold, of quite different fabric from the flimsy jewellery with which

and

the ghosts of the departed were often cheated.

as seals for business purposes

by the

living, is

Their actual use, moreover, proved by the numerous clay

sealings found presenting their impressions.

From

the recurring discovery, however, of signet-rings of these religious

Ensured
protection

by

types with the remains of the dead, it must still be inferred that they were considered a peculiiiin of their owner that was to continue in his possession in the World beyond. Certain simple subjects engraved on their bezels, like Griffins or Sphinxes, doubtless brought with them a protective
virtue.

divinity.

The more

elaborate compositions, such

as

those

depicting

the

advent or descent of deities, may have conveyed a sense of divine companionship which did not cease with death. The sepulchral scenes themselves the mourning figures notwithstanding were full of hope, since the

affinities of the old

Cretan religion lead

rings

to the conclusion that

they con-

cerned a youthful God, mortal indeed, but

that,

still

resurgent.

It is

possible even

like

the memorial

of our

great-grandfathers,

on

which, for

weeping Genius may be seen looking down on a funeral urn, mourning scenes above illustrated may have conveyed, under a religious aspect, a reference to a personal bereavement. In this connexion we may recall the fact so signally illustrated by the remarkable evidence derived from the Tomb of the Double Axes that the grave itself could be regarded by the Minoans as a place of worship,
instance, a

subjects like the

furnished with

its

baetjlic pillar
cult.-

and sacred Double Axes, and

fully

equipped

with the utensils of

See

my

remarks on the Christian analoreligion in Vol.

ii,

'^

A. E., The

Tomb of the Double

Pt. I, p. 279.

.Lxes, &-Y.
Ixv).

giesofMinoan
seqq.

Pt.

I,

p.

277

(Quaritch, 1914, and Archaeologia, vol.

Cf. P. of M.,
ii,

145

The

'

Ring of Nestor

'.

But the most suggestive of all these pictorial examples is that supplied The by the Ring of Nestor' ^ (Fig. 94), already referred to in connexion with the Nes"tor'. sacral ivy spray, and as illustrating the two little handmaidens of the Goddess. The ring itself, as I have ventured to interpret it, affords the solitary glimpse that we possess of the Minoan Underworld, and of the admission of
' '

the departed into the realms of

divine

bliss.

The

multiplicity of figures,

fourteen

in

number,
It

in addition

to

the animal forms

size
in

human
is

or

unique
of
its

among

ancient intaglios, and, considering

the

of the

field,

required

microscopic work.

may be compared, even

the exact

number

figures, with the vintage scene and Bacchanalian throng engraved on the

cornelian bezel of the signet-ring said traditionally to have belonged to

Michelangelo, and,
of

as the
is

rebus of a fisher-boy below shows, certainly a

tour de force of his friend G. M. da Pescia,^ the celebrated gem-engraver

Leo X's

time.

The
here.
It

ring itself

so remarkable that

it

deserves a special consideration

'

Circum^f^i"g

was found

in

a large beehive tomb at

Nestor's P)los

'

by a peasant

in quest of building material there,

its

somewhat previous

to the investigation of

finding

remains by the German explorers in 1907.^ The discovery, however, was kept dark, and on the death of the original finder the ring passed into
the possession of the owner of a neighbouring vineyard.

covery.

kindness of a friend,
possess.

Thanks to the saw an imperfect impression of the signet at Athens which gave me, however, sufficient idea of the importance that it might
I

at once, therefore,

the Morea, resulting in the popular

^

undertook a journey to the West Coast of the acquisition of this remarkable object, which, from
to the tholos since Dr. Doerpfeld's investigations,^
is^c.

name given
E.,

See especially A.
xlv,

Ring of Nesior,
separately,

J.H.S.,

1925,

and,

MacPt.
II,

An engraving from an enlarged drawing by Madame le Hay, enhancing the pictorial character of the design in the spirit of the time,
is

millans, 1925. For an illustration of the design

on the ring
p.
'^

see,

too,

P.

of M.,

ii,

given by Montfaucon,
i

AntiquM

expliquie,

482, Fig. 289.

vol.

(1719), PI. 143,

Miiller,

i.

Once

in the

Cabinet du Roi and

It

still

in

'

Kurt

Ath. Mitth.,

xxxii,

Suppl.,

the

Paris Collection.

was

first

described
his
tract

pp. xi-xiv,
''

and

//Va',,

xxxiv (1909), p. 269 seqq.

by P. A. Rascas de Bagarris
entitled

in

Dr. Dorpfeld identified Kakovatos, where

La

tie'cessite

de I'usage

des me'dailles

the tholos was found, with Nestor's Pylos, Ath,

Mitth., xxxii (1907), Supplement, p. vi seqq.

dans

les

history

Monnaies (1608-11), p. 9. For the and description see M. Chabouillet,

pp. 320-3, no.

Strabo,

viii, c. 3, 7
it

citing the 'On-qpiKwrepoi

Cat. Gen. des Canines et pierres grave'es de la

bibliotheque impe'riale,
III.

had placed

within the Triphylian borders, as

2337.

against the claims of the Messenian Pylos.

146
is

THE 'RING OF NESTOR'

'

Ring of Nestor' (Fig. 95). It is of solid gold, weighing 31-5 grammes, and the shape and the narrow diameter of the hoopi too small for the finger place it among the early class of Minoan signets that were really meant for suspension and directly derived, as shown above (Fig. 90), from a type of Early Minoan bead-seal.
conveniently described as the

Fig. 94.

The Ring
'

OF Nestor
'

'.

Chronological

indications L. M. I a.
:

For the chronological place of the Ring of Nestor' certain clues are supplied both by its association and by features in the design. The parallelism
observable with the style of the Miniature Frescoes, including the lively
gestures, points
to

an approximation
its close.

in

date.

So, too, the short skirts

of the female figures reflect a fashion general in M.

sitional
in

M.

Ill

and the

tran-

epoch that marks

The bulk

of the painted pottery found

was of L. M. \ b class, and it included some of the finest existing specimens. But one or two vases, notably a characteristic pithos go back to the L. M. \ a phase, and seem to mark the date of the original interment. There is, indeed, every probability that the ring belonged to that epoch, and may therefore date from the second half of the Sixteenth Century B.C. The field of the design is divided into zones and compartments,
the
itself
'

tomb

',

suggestive of those that characterize many of the

"

frescoes

by the trunk

and horizontally spreading boughs of a great tree, about which something has already been said in connexion with the leafy shoot that springs from it above to the right, clearly recognizable as the sacral ivy ^ (Fig. 95).
'

Arrange-

But the tree before us

itself is old,

gnarled, and leafless.

It

stands

ment

in

compartments

with spreading roots on the top of a

'

mound
massive

or hillock with its trunk rising

signet-ring
for a child.
ii,

Though

of greater breadth
its

17 mm.
is

it is

was

in

any case not

in-

only 12
bezel.

mm. from

arch to the back of the not due to

tended
^

The lowness

of the arch

F. of M.,

Pt.

II,

pp. 482, 483.

The
teris

any distortion, but the mean diameter (14-5 mm.) would itself be too small either for a

cordiform shape

of the leaves

and the

minal spray are unmistakable, small as

scale

the

woman

or a

man

since these

may be

said to re-

on which they appear

in the intaglio.

quire hoops ranging from 17 to 19

mm.

This

THE 'TREE OF THE WORLD'

in the centre of the field
. .

147
f"'!
''y

result of this
field into four

and with wide-stretched horizontal boughs. The more or less symmetrical arrangement is thus to divide the
spaces

^"^^ trunk

and
of 'Tree
?f,''\^,

the

effect at first sight

resembling that of the four

rivers of Paradise or the triple-branched water-course of the Fields of lalu ^

\\ orld

Fig. 95.

The Ring
'

of Nestor

',

showing Bezel, enlarged

diameters.

Egyptian 'Islands of the Blest '.^ In this case, however, the rough trunk and branches, convexly rendered, are unmistakable. The tree, nevertheless, served a purpose analogous to that of the rivers in delimiting into four spaces a field in which we may also recognize a parallel to the Earthly Paradise. The scenes that its branches thus divide
in the

belong

in fact,

not to the terrestrial sphere, but to the Minoan After-World.

is

suggested with Yggdrasil,^ the Ash of Odin's Comsteed and the old Scandinavian Tree of the World The branches of this ^vttTv^"

An

obvious analogy

'

'.

greatest of
sky.

all

trees stretch over the

whole world and shoot upwards

to the

drasil.

One
'

of

its

diree roots reaches to the divine Aesir, another to the land

of the Giants, the third to the Underworld {lielld).

See Ring of Nestor,
&=., pp. 49, 50.
I,

Certain elements in this

'

Ibid., p. 51.

148

THE 'TREE OF PARADISE'

Northern myth as Grimm long since pointed out^ reappear in an Arab fable of which early translations, Hebrew, Greek, and Latin, are known. The Oriental version reacted in turn on the Medieval 'Tree of Paradise', of which, as already noted,^ an account is preserved by the Cretan writer.

Fig. 97. Chrysalis (facing) ABOVE Goddess, Vapheio Ring.

'.A D.
Fig. 96. lises (side
'

view), above
'.

Butterflies and ChrysaGoddess, on

Ring of Nestor

Fig. 98.

Butterfly and Flowering Spray Gem, Knossos.

:

Fig. 99.

Butterfly: Cl.a.y Sealing, H. Triada.

'

'Tree of
dise

This B)'zantine Tree of Paradise was also Georgios Chumnos of Candia. and bare, and spiders' webs hung from its branches Sacred trees are themselves a central feature in primitive Religion ^ throughout the world, but it is possible, in view of the existence of early
old

Oriental traditions of the

ring
Interpretation of design.

'

Tree of Paradise

',

that the representation on the

it.

may have some

direct, if

very remote, connexion with

In the first compartment of the tree may be recognized the Minoan Goddess seated in animated conversation with her wonted companion, while above her head there flutter two butterflies.'' The symbolic significance of
^ ' ^

Deutsche Alythologie,
P. of AL,
ii,

ii,

pp. 666, 667.

and Pillar Cult (Macmillans,

/.//.
S.),

1901,

and

Ft. II, p. 483.

passim.
this generalized

For

tlieir

special connexion with

refer to

Minoan

Only unacquaintance with

religion

may

my

Afycenaean Tree

Minoan

version could have led the Swedish

'

BUTTERFLIES AND CHRYSALISES

these, moreover,
is

149
Butter-

emphasized by the appearance above them of two small objects showing traces of heads at tip and with hook-like projections at the side, in which we may reasonably recognize the two corresponding chrysalises. A reproduction of these, enlarged 10 diameters, is given in Fig. 96. Professor Poulton, indeed, the eminent entomologist, when consulted on the matter, not only expressed the opinion that we have here beyond all doubt to
deal with chrysalises, but that the
'

chrysa''s^s

cal of

resurgence.

tags

'

visible at the side

answered

to that

of the 'commonest of
that the objects thus

all

pupae

the

Common White
is

'^.

The

conclusion

shown

are indeed chrysalises

strikingly confirmed

by the parallel representation that it has now been possible to adduce from a much enlarged reproduction of a Vapheio signet where a chrysalis

facing

in this

case with both eyes visible

appears

in a similar

manner

above the right shoulder of the Goddess (see Fig. 97 and Fig. 91, p. 140, above). It will be seen that the shield-shaped thorax corresponds with that of the more naturalistic gold chrysalis (Fig. 102) from a chamber tomb at Mycenae.^
the head, thorax, and

Minoan kind as seen in profile with abdomen clearly defined, and the abdomen as usual They recurving downwards and of somewhat disproportionate length.
butterflies are of the typical

The

semble, for instance, one of a purely naturalistic group on a haematite

lentoid in

my

possession, found near

S.

Knossos
there
{op.
is

(Fig. 98).
absolutely
p.

On

a clay sealing
for the

entomologist, Dr.
ting that
flies
'),
'

Bengtsson (while admitthe inter-

no warrant

remark

the insects certainly resemble butter'

to express the opinion that

part,

552) that the artist 'has depicted one of them in such a way that it certainly
cit.,

mediate

resembling a small orb visible

its

cannot be a butterfly

'.

No

real distinction

between the head and the back part of

can

be established
Poulton

between
could

the

pair,

and
his

body
right,

',

seen in the case of the insect to the

'

Professor

only

express

shows

that

it

cannot be a
'

butterfly,

but

astonishment at the character of the above

self-contradictory criticisms.
'

must be a hymenopter (Martin Nilsson, The Minoan-Mycenaean Jieligion,&^c.,'p.^^2). But a

butterfly has a thorax as

See, too, Poulton, I'roc. Ent. Soc. Lond.,

much as

a hymenopter.

1924, Ixxix seqq.

Professor D'Arcy

Thompthe
a

The chrysalises he regarded

as 'a kind of shell

son in his remarks on the passages where

Aristotle
(Hist.

on account of the tags explained by Professor Poulton and the concentric circles visible on
the bodies.

An.,

v.

19)

describes

whole development of
caterpillar,

butterfly
in

from

This theory entirely dissociates

shows that he had

Aristotle, vol.

mind

the

the two pairs of objects, which on the ring are

Common
Works of
cabbage

White or 'Cabbage'
iv,

butterfly

{The

placed in an obvious relation.

of a butterfly with a chrysalis

The conjunction
is

p.

551, a).
is

The

natural

but

{[mcfiavo^

or

Kpaix/Sn])

mentioned

what connexion has a wasp,

a periwinkle?

let

us say, with

by Aristotle
caterpillar.
^

{ioc. cit.)

as the food-plant of the

The

insects

themselves show

detailed correspondences with other

Minoan
and

Set Jiing 0/ JVestor,

&-'c.,

p. 55, Fig. 47.

versions of butterflies

(cf.

Figs. 98, 99),

Fig. 101.

Gold

Scales, Butterfliks,

and Chrysalises from Third Shaft Grave, Mycenae.

'

BUTTERFLIES AS SOULS

151

from Hagia Triada (Fig. 99) certain features of an eyed butterfly are rendered in greater detail. The chrysalis as an emblem of a new life after death is illustrated by two were finds made at Mycenae. In the Third Shaft Grave a woman's tomb found two pendent gold objects attached by means of a perforation through

the upper ends to small chains, described

by Dr. Schliemann as grasshoppers

'

or "tree-crickets' (Fig. 101,

chrysalises.

4),

but which are unquestionably intended for

associated in the

same tomb not only with goldenbutterflies(Fig.l01,3,and Fig.lOO,(5),butwiththingold plates embossed with similar butterflies and provided with attachments, showing that they had served as the scales of a balance of the same thin, funereal material(Fig. 101, 2). Remains of the tubular casing of the wooden beam were also found, making it possible to reconstruct the .whole, as shown in Fig., 100.^ Here we have an obvious allusion to the weighing of souls, suggesting an analogy with the Egyptian idea of Thoth and Anubis weighing the heart of the dead man against the feather of Truth a purely ethical idea as compared with the Greek
were, in
fact,

They

which relates to the doom of the living.The very rough representations of pupae, seen in Fig. 101, 4, Fig. 102. have now been supplemented by a much more detailed example Gold ChryFROM salis in the form of a gold chrysalis bead found by Mr. Wace and C H A.M B E R
yjrvxoa-TaaLa^

the excavators of the British School in a chamber

tomb

at

Tomb,
cenae.

My-

Mycenae^
of the

{Fig- 102).

idea of a chrysalis.

convey a generalized The head and eyes, the wing-cases and articulation
It

may be

said to

abdomen

are clearly indicated.

As

noted above, the shield-shaped

plate in front links this with the ruder representation seen in Fig. 97.
Butterflies

peasants
'

as by
124,

as
so

already observed

are
Hardy,
'

still

regarded by the Cretan

many

primitive folk the world over

in

as
to

'

little

Souls

'.*

From
in
p.

the Figure as restored by Dr. G.

reference

an incident in the
'

Karo

Fimmen, Kretisch-Mykenische KuUur

Fig. 116.
Cf.

Superstitious

Man's Story
'

in Life's Little

(1921),

Schliemann,

Ironies,

informed him that a

called the

common
'

white
it

Mycenae,
"'

p.

197, Fig. 303.

moth
flies

is

Miller's Soul
at the

because

See

'

In

my remarks, Ring ofNestor, &'c., p. 60. Tomb 518 of the Kalkani Cemetery
Wace, The Times
Lit. Supplement,

out of a man's
Sir

mouth
130)

death.
(vol.
i

James Frazer

in the

moment of Golden Bough

the Burmese

(see A. J.

(1890), p.

notices

Oct. 26, 1922, p. 684).

tion of this

preliminary publicain the Illustrated

belief that

when a mother
and

dies leaving a

young
re-

bead was made

baby,

'

the butterfly or soul of the baby follows

that
die.
if it
is

London News, Feb.

*

24, 1923, p. 300. Cf.

Ring

that of the mother,

not

of Nestor, p. 55, Fig. 47.

covered the child must

Some good
cit.,

instances are given by Prof.

pp. Ixxxi, Ixxxii.

woman

"

is

called to

So a get back the baby

" wise
soul.'

Poulton, op.

Dr.

Thomas

152

YOUNG COUPLE REUNITED

them otherwise than
It

IN

DEATH
it

Placed as they are here in connexion with their pupal forms,

to explain

is

difficult

as an allusion to the resurgence of the

human

spirit after death.

can hardly be doubted, moreover, that they

apply to the two youthful figures

who appear
ring,

beside them on the and must be taken to be of

life.

^i/ljl^

J'Jf. J/J .--

1)^
-

Jj^TJ^t^l^
.

Jjl

tp[

))<;'
>.n

/J

symbolic
with new
Young
couple reunited in Death.

their

reanimation

The youth, with long Minoan

locks, standing

behind the God-

dess, raises the lower part of his

right arm, while the short-skirted

damsel who faces him with her back to the trunk, shows her
surprise at the meeting

by holdit

ing up both hands.^

Here

will

be noticed that the gesture language is altogether in keeping

with that of the lady spectators

"~~
Fig. 103.

shown
coes
,

in

the

'

Miniature Fres,

Athena infusing Life into Clay

Taken in connexion with Figure jioulded by Prometheus on Sarcophagus in Capitoline Museum. ^ the emblems oi resurgence, the natural significance of the scene strikes the eye.^ We see here, reunited by the life-giving power of the Goddess and symbolized by the chrysalises and The meeting indeed butterflies, a young couple whom Death had parted.
'.
'

may,

in

view of the scene of

initiation depicted below,

be rather interpreted

as the permanent reunion of a wedded pair in the Land of the Blest than an attempt like that of Orpheus to rescue his Eurydice from the Shades, or But the dramatic than the all too brief respite granted to Protesilaos.^
^

This gesture seems to be a universal primi-

indication of the chief divinity, the sacred

'

eye

'

tive sign of surprise.

As

such,

it

is

figured

and

'

ear

'

in

the background of ceremonial

all-

among

the Neapolitan gestures in A. de Jorio,

scenes on signets imply an all-seeing and

Mimica degli Antichi, 6-r., p. 333, and PL 5, where agirl stands in preciselythesame attitude. Dr. Martin Nilsson, indeed (7% MinoanMycenaean Religion, p. 553), finds it difficult
^

hearing presence. Settled doves are emblematic

of spiritual possession.

The

sepulchral cell of
actually cut out

the 'Tomb of the

in the

Double Axes',

shape of the sacred weapon, supplies an

religious symbolism which may be compared with the cruciform shape of

to accept this symbolic value of the butterflies

example of
strictly

and chrysalises so early as the Minoan Age. But the symbolic side of Minoan religion was well marked. The Double Axe appears as an

many
^

Christian Churches.

Cf.

The Ring of Nestor, pp. 64, 65.

'

MINOAN GODDESS AS LADY OF UNDERWORLD

moment
itself

153

and the spouse on the ring might well exclaim with Wordsworth's Laodamia
largely corresponds,
:
'

No

spectre greets me,

no

vain shadow this

by my side Give, on this well-known couch, one nuptial kiss To me this day a second time thy bride

Come, blooming

hero, place thee

Fig. 104.

The Ring of Nestor

'

':

Design enlarged 4 diameters.

By

E. GiLLifeRON, fils.

Minoan Goddess, in which she appears as guardian of the abode of the dead, we have ample evidence. In the case of the Tomb of the Double Axes at Knossos the chamber was also a shrine, the furniture of which, including the ritual Double Axes of the
specially chthonic aspect of the
'

Of the

Chthonic

Minoan
go'idess.

'

between the Sacral Horns, was placed on a ledge at the head of the sepulchral cell, which itself was hewn out of the rock in the symbolic form On the other hand, gold butterflies of funereal fabric of the sacred weapon. ^ have in more than one case been found associated with the dead, while the gold balance of the same light character, found with such in the Third Shaft Grave at Mycenae, and showing butterflies embossed on their scales, point to the idea of the weighing of souls. That in Minoan, as in later times, the
divinity
^

A.

E,,

Tomb of

the

Double Axes,

ire. {Arch., Ixv,

and Quaritch, 1915),

p.

33 seqq.


154
Her
life-

GRIFFIN AS CHIEF INQUISITOR

giving

power.

L'on
of

Under-

^^""^

Initiatory

examination by
^^

Chief^
Inquisi-

^vxv was regarded as the 'life' of man is clear, and of such, used as an agency of reanimation by the Goddess, a curious parallel of Classical date is supplied by a scene on a Greco-Roman sarcophagus In the Capitoline Museum, here reproduced in Fig. 103, where Prometheus holds the inert clay figure that he has moulded in the form of a child towards Athena, who infuses it with life by setting a butterfly on its head. In the next compartment, right of the trunk, the sacred Lion of the Goddess is seen in an attitude of vigilant repose on a kind of bench, tended by two girl figures (though in women's dress) in whom we recognize the frequently recurring representations of her two little handmaidens.^ The lion of the Goddess would naturally keep watch and ward over the realms below, just as in Egyptian belief the Underworld region through which the sun passed between nightfall and dawn was guarded at either gate by the lions 'Yesterday' and 'To-day'. The religious character of the scene is further enhanced by the bough, identified above with the sacral ivy that springs from the trunk. Xhe lower zoue on either side of the trunk, beneath the spreading rii ibranches, unfolds one contmuous scene, the whole oi which seems to depict the initiatory examination of those entering the Halls of the Just in the Griffin's Court. In the left compartment the young couple reappear, treading, as it were, the measure of a dance and beckoned forward by a fantastic creation also found on a Cretan intaglio^ a 'griffin lady' right of the trunk, while another warns off a youth on the extreme left, as a profane intruder. Right of the trunk, beyond the first, two
butterfly
' '

iiiri-i

more

'griffin

ladies'

dressed

in

the usual short-skirted fashion of the

early part of the

New Era

with hands upraised in adoration

head the prowinged

griffin

cession to the presiding figure of the tribunal.

This

is

of the milder, peacock-plumed

variet)-,

seated on a high stool or throne,

while behind stands another female personage, in a repetition of the Goddess herself.
griffin

whom we may

recognize

pre-eminent characteristic of the

soil

eagle-headed

in

his

origin

on Cretan

is

his piercing sight,

which qualifies him here

for his post as

Chief Inquisitor.

Below, on the

mound
is

at the foot of the Tree, amidst shoots that seem to stand for herbage,

couched a dog-like monster, the forerunner of Cerberus, but who may

^

See P. of Jt/.,

ii,

Pt.

I,

pp. 340-2

and

Fig.

The eagle-headed female

type

is

of

more usual
is

194.
"

occurrence on Cretan intaglios, and

repeated
Jii'ng

On
the

a steatite bead-seal from Central Crete

on some of the Zakro sealings (see

Nestor,
(s-'c,

of

in the late

Mr. R. B. Seager's possession (now

p. 69, notes, 8r,

and

82).

in

Metropolitan

Museum, New

York).

MINOAN ABODE OF
also

BLISS

i55

be compared in a broader aspect with the dragon the loathly Nidhoggr at the foot of Yggdrasil. The entire composition of the designs on this remarkable signet-ring moves forward in a single story.^ This, as has been shown, is divided into four successive episodes the Goddess seated in front of her companion and with the tokens of her life-giving powers, the butterflies and chrysalises above her head next, the reunited couple then the lion-guardian, tended

Fk^st^^
into"

^^'J,t"
to'.ogy.

by the handmaidens of the divinity, and finally "the Griffin's Court', repreIt gives us our first real insight into senting a ceremony of initiation. the pre- Hellenic eschatology, and is the only glimpse that we possess of the World Beyond as conceived by the Minoans. There is no gloom about the picture; the human figures are not mere A true shadows or half-skeletons, but real flesh and blood and moved by very nor'"

human

emotions.

Hades, Surprise, joy, afi"ection, and encouragement are alternately

suggested, and
of the dance, as

we
if

see the advancing pair caught, as

it

were, with the spirit

unseen music

filled

the background.
griffin-ladies

her handmaidens and the ministering

The Goddess and show the same vivacity

of gesture language, with truly dramatic touches in the action displayed. All alike wear fashionable raiment, reflecting indeed the latest modes, and
the imagination the
is left

free to

fill

in the bright colouring.

Hades of

primitive

Greek

tradition

the

We

have not here

gloomy Under- World of pale

its shadows and gibbering ghosts. This is conception, and ruled by the Cretan Rhadamanthys,^ brother of Minos, such as was the promised land held out by Proteus to Menelaos in the well-known passage of the Odyssey. It is not in Argos that he shall meet his fate; the deathless gods shall convey him to the Elysian Plain and the World's End, where is Rhadamanthys of the fair hair,^ where life is easiest for men. No snow is there nor yet great storms nor any rain but always Ocean

the true Elysion, un-Hellenic in

'

sendeth forth the breeze of the

^

shrill

West.'

Here,
it

too,

he

shall rejoin his

549)

The

following

paragraphs
rsx^

are

substan&".,

truly describes

(^/. '/, p.

of the gold

tially

reproduced from

Ring of Nestor,

pp. 70-2.
'^

The un-Greek
has been

character of Elysion and

commentary on the view that Elysion represents the Minoan idea of Paradise. That there was a certain
ring supplies a curiously apt

its

connexion with the Minoan element of

well

assimilation

with the
is

Egyptian

'

Islands

of

Hellas

brought out by Dr.

d.

the

Blest

'

also very probable.

Proteus,

Ludolf Malten (^Jahrb.

Inst., xxviii (1913), p.

k.

Detitschen Arch,
;

indeed,
relation.
^

at

once
563

brings

us

into

Nilotic

35 seqq.

Elysion

und
cit.,

Rhadamanthys).
seqq.).

His views are adopted and

'

Od.

iv.
a-'

developed by Prof. Martin Nilsson

539

The amazing

find

'

as Nilsson

(pp.

aXXd

'}iS.va-iov ttcBlov

koL Trupara

yairj';

addvaroi

Tri^xj/ovcnv, o6t

iavdo^ 'PaBdfMvOo^.

156

TRANSLATION INTO MINOAN 'MINIATURE' PAINTING

comparison with the scene on the ring- 'Yea, and thereby they deem thee to be son of Zeus.^ We see here an abode rather of light than of darkness, and Virgil s words ^ indeed might also apply to the denizens of this Minoan Afterspouse
significant point of
for thou hast

Helen

to wife,

World

Largior hie campos aether et lumine vestit Purpureo, solemque suum sua sidera norunt.

Translation ot Design into Miniature Fresco.

The

highly picturesque character of this composition leads to the con-

clusion that in this, as in other cases, the

his subject

Minoan engraver had taken over

in this

much epitomized, no doubt, even

in colours
in fresco

elaborate example

from

an original design
to

on a plaster panel. ^

We

are led back indeed

some masterpiece

painting of the kind that once adorned the

still

Palace at
Blessed

Knossos, giving a

completer view of the abode of the

itself

perhaps an illustration of a )et earlier poetic version

much

as the celebrated painting of

Odysseus in Hades by Polygnotos reflects in the main the Homeric Nekyia} Of that painting, indeed, as it existed in the Lesche at Delphi we have the very detailed description by Pausanias,' and separate episodes are preserved in later adaptations,*^ but the artistic records do not reproduce the subject in any connected shape. In the design on the Ring of Nestor', on the other hand, we obtain at least a partial insight into the actual composition of a Minoan picture of the After-W^orld executed some eleven centuries earlier, and, from the elements at our
'

disposal,
'

may even form

of Homer,

a general idea of the colour scheme.

Butcher

The
Aen.

Odyssey

and
cit.,

that vase painters freely adapted certain groups.

Lang,
=

p. 67.
vi.

The
Virgil, as

division into

three zones was generally

640 seqq.

Malten [pp.

adopted by the
picture,

earlier restorers of Polygnotos'

PP- 49. 5S) has pointed out, makes Elysion coincide with the tottos tuo-t/Swi' of the Orphic
religion (the counterpart of the tottos ao-efiZv).
=
"

from Count Caylus onwards, based on

description.
It

Pausanias'

thus

appears in

AVatkiss Lloyd's adaptation of the restoration

See F. o/M.,

i,

p.

685 seqq.

by Riepenhausen, published
Classical Antiquities, vol.
seqq.,
i

in

the A/i/s. of
p.

Though

occasionally other epic sources.

(1851),

103

such as the Nostoi and JMinyas, were used. See F. Diimmler, Die Quellen zu Polygr.ots

and

Plate.

The groups
Robert's

there are very

ar-

sporadic.

Prof.

better-known
given up,

Nekyia {Rhein.

N.F. 45 (1890), pp. 178-202); and C. Robert, Die Nekyia des

Miis.,

xeci\g(ime:x\\.\n

Die Xekyia des Polygnot {\Z(^2\

is
still

where the zone system

the zone hypothesis,
there
is

conto

Polygnot, p. 74 seqq. (Sechszehntes Hallisches

veys a very disconnected impression.

it

As

Winckelmannsprogramni, 1892).
Lib.
Cf.
X. c.

may be observed

that

28.

Frazer,

Pausanias,
of.
cit.,

vol.
p.

v,

pp. 376,

least

good evidence of arrangement in at two horizontal zones in the case of

frescoes.

377:

Prof. Robert,

53,

considers

Minoan

o z h z <
Ph

o h z

<
1-1

Z
<; Pi

o z
W Z W

o H o f^ z o

h z o z o w o

MASTERPIECE REPRESENTING AFTER-WORLD

The
evident dependence of the
intagflio

157
Transla-

design on a pictorial model, coupled with the singular correspondence shown in the fashion of the dress as well as the pose and gestures of the figures with those of the contemporary class of Miniature Frescoes so well illustrated at Knossos,
'

design
']JJjjatuie

Fresco,

',

suggested to
Happily,
in

me

the desirability of an attempt to translate back the com-

its original form and colouring as a painted panel. Monsieur E. Gilli^ron, fils, I had at hand not only a competent artist, but one whose admirable studies of Minoan Art in all its branches had thoroughly imbued him with its spirit. He executed under my superintendence a coloured drawing, of which a reproduction is given in Coloured Plate A,^ to the scale and quite in the style of the Miniature Fresco of Knossos that shows the assemblage on the Grand Stand by the Pillar Temple of the Goddess and of the fellow composition depicting the Grove and Sacred Dance '.^ To those steeped in the knowledge of the frescoes the colours to The male and female figures are disa great extent impose themselves. tinguished, according to the unvarying convention, by Venetian red and For the backwhite, and saffron yellow continually recurs in their dress. ground the warm terra-cotta and the kyanos blue were both used on This occasion for this purpose in the early part of the Late Minoan Age. blue, as employed in the upper spaces, gives the best suggestion of the luminous ether that surrounds the abode of the Blessed. The brown wood-colour of the trunk and the blue band of sky, for what seems to have been regarded as an abode rather of light than darkness,

position before us into

XX

'

'

'

also follow pictorial precedents.

It

does not seem indeed to be outside the range of legitimate conif

Reflec-

jecture

we venture

to recognize

in

the truly microscopic

composition JXinai^"
Pylos a real
masterreprethe^Affer-

supplied by the ring from the beehive tomb of Nestor's

reminiscence of an original masterpiece of Miniature fresco painting worthy

of having adorned a Palace wall.

have here, in fact, a hint of some much more ancient conception of the theme, it well may be, of Epic treatment long preceding the After-World

We

World,

the
'

Homeric Nekyia.
Dr.

Martin

Nilsson

remarks

{op.

cit.,

Arthur Evans adds by a happy thought, we

feel

p. 5s) with regard to this coloured reproduction that the similarity between the de'

immediately that
design
'.

this is the true

source of

this type of
'^

sign

on the ring and the Minoan wall-paintings

style is so great that

For another coloured copy of M. Gildrawing,

see

ofthe Miniature
ring

when we
Sir

Heron's

Ring of

Nestor,

<5r=(r.,

look at the translation of the design on the

into

PL V.

Miniature fresco

style,

which

'

;; ;

75- Upper Porticoes of N. Entrance Passage and their Painted Reliefs of Bull-hunting Scenes compared with those of Vapheio Cups.
:

'

stucco
this
;

Miniature Frescoes contrasted zvitk 7icighbonring deposit of painted remains belonging to North Entrance Passage ; Successive stages of
'

Good ashlar masonry of Middle phase ; Fine works of

reconstruction

in M.]\I. Ills.; Proposed reconstitiition of N.

to

Sea Gate from JV. and M. ; measures due to considerations of police ; Lower Pillar-Hall and light-area
it

Entrance Passage ; Approach Traces of inner Gateway ; Safeguarding

;

Presumed Upper Columnar Hall ajid Corridor linking

tural divisions ; Painted
reliefs

xvith Central Court

Portico overlooking IV. side of Entra?ice Passage ; Loggia with three struc-

ground ; Remains of rock-ivork foreground ; Bovine reliefs; Head of gigantic bull its noble aspect ; Foot and hoof of bull ; Part of tvomaiis leg ankle ring'; Part of a female thigh ; Parallels from Vapheio Cups ; Recurrence of triple

of bull-grappling scenes ; Olive-trees in backScene laid in Country: Stratum containing painted fragments

division

Did the Palace friezes supply

models elsewhere ? Fragmentary reliefs

in Elgin Collection; Indications of parallel frieze in E. Gallery; Bull's leg found in cojinexion with it; The Vapheio reliefs; Cup ; Girl grappling
bull;
of

The neck-twisting feat ; Cup B Capture through decoy Coiv ; Evidences Artistic cycle on vases and gems ; Limitations of intaglio techniqtie ; Bull

on seal-impressions nosing trail

as

M.M.
Greeks;
Portico
Minia-

Ill

date of painted reliefs

Cup B ; Lassjiug scene on gem from N. Entrance Passage; Relatively

in

late date

Olive-tree reliefs

of stratum with bull reliefs ; Part of reliefs seen in position by at two extremities ; Parallel survival of N.W.

Influence of remains on imagination of Hellenic settlers.

'

'

The

Miniature Frescoes

'

described in the last Sections had adorned the

ture

Frescoes contrasted
\vi:h

neighbouring deposit of painted stucco remains.

walls of a small sanctuary chamber and the scale was proportioned to the narrow space that had contained them. They thus present a striking contrast to the painted stucco remains found in the adjoining area that formed part of the chief public avenue of approach to the Central Court. The little chamber from which these remains were derived had stood, as we have seen, at the angle corresponding with the structure of the Early

Keep

as

it

here bordered the Northern Entrance Passage, together with

a brief section of the

Below

this

North border of the Central Court. angle the Entrance Passage, as shown in the

first

Volume

NORTHERN ENTRANCE PASSAGE

of this work,
,

159
Belong-

had undergone three successive staws m the course of the 1, T L In its earhest phase it was an ascending gangway, seven Palace history. metres broad, between a M. M. I-II wall running North from the super-

ingtoN.
Entrance
^^s^^?^-

Fig. 105.

View of North Entrance Passage from Pillar Hall below showing Western Line of Bastions.

structure of the Early

with
this

it

to the East.

Keep and a contemporary terrace wall running parallel At the beCTinnino- of the Third Middle Minoan Period
in front of the original

its

sue

arrangement was superseded by the construction

cessive stag es.

i6o

NORTHERN ENTRANCE PASSAGE

' '

boundary walls of three bastions on either side rising below in a continuous line, though forming level terraces above and divided by small gaps which seem to have been filled with massive upright baulks of timber. Finally, apparently in the early days of the Reoccupation period (L. M. Ill a), to afford more promiscuous facilities for access to the Central Court, the Eastern group of bastions was sufficiently demolished to allow a broader roadway to be made at a level of about a metre higher than the earlier ramp. This roadway thus extended from the face of the Western line of bastions to the old terrace wall on the East and was about five metres broad more than two-thirds, that is, of the breadth of the earliest avenue of

ingress.

Good

But the

real interest centres

on the

fine

ashlar construction
it

of the

masonry of Middle rased

phase.

middle period of this entrance system, which-

on the East side

had been better

parts of the

so far as

was not deliberately

. .

preserved than any of the Palace

Structures except

some

largely due to a similarity in

Domestic Quarter. This, indeed, was the conditions. Both fabrics were to a great
for the

extent backed by cuttings

the Central Court.

made

purpose
'

in earlier

strata.

The

Domestic Quarter, as we have seen, was set in the Great Cutting' East of The Northern Entrance Passage was excavated out of the steep slope of the Neolithic Tell on that side, thus reaching the Central Court by a gradual incline, perhaps a few metres beyond its Northern fagade line. In both cases, over and above the greater security insured against earthquake shocks, the tendency of debris and later deposits to
'
'

accumulate in the artificial hollow did much to protect the structural remains from the later robbers of well-cut limestone blocks who infested the site. It is a remarkable fact that, of the fine perspective of successive
structural sections

here, for convenience

termed bastions 'rising

'

in places

seven courses high, that to-day opens before the spectator who stands in the
area of the North Pillar Hall below (see Fig. 105), not one single stone was
visible

when the excavation of

this section

began.

The Northern Entrance Passage as arranged

Fine
recon-

in

M.M. Ilia:

its

Upper

Galleries and Painted Friezes.

^"at''^? in M. JVl.

Very complete evidence is forthcoming for the date when this North Entrance Avenue was carried out. For a ter)>iinus a quo the fact that the back walls of the Western line of bastion rest on wallingf of the M.M. II o

Wla.

On the other hand, it has already been pointed out that both the character of the masonry and the style of the mason's
Palace
is itself

conclusive.

MMMMMMMMMMM^
Kny^iMKXKKx

^
I

yyyYiofYYify^y'ixyxjfyy^yl

r~T~

nxyxYYYYYyyyxxYYX txyvKyifunnnx

I
Section

?,

CD
l:

>

UPPER

z c

m > > o
rn

m
NORTH
)

PILL^

Li
-Dev/N

BALU5TRA ^T)

LIGHT

AREA
-?v

SCALi

OF

METRES


RECONSTRUCTED PLAN OF NORTHERN ENTRANCE
marks, such as the tridents, the double axes, and
'

i6i

broad arrows cut on the blocks, absolutely correspond with those of the ashlar masonry of many parts of the Domestic Quarter, belonging as shown elsewhere in detail to the early phase, a, of the Third Middle Minoan Period. To this may
'

be added another piece of corroborative evidence the West wall of the three bastions on that side forms an integral part of the North-West Portico beyond, together with the adjoining Lustral Area, which has also been shown above to go back to the same M. M. Ill phase. The North line of Bastion B is in fact the continuation of that of the doorways of the North-West Entrance. The North face of the opposite Bastion on the East side (B-B) follows the same line.
:

Many

elements are at our disposal for the original plan and elevation

Proposed
s^r'uction

of the section of the Northern Entrance

Avenue

that lies below

what was

once the N.E. anwle of the Early Keep and its superstructure. A careful ^^' '^ tr iEntrance study of these has led to a result, at once self-contained and answering to all Passage.
local requirements,

which

fully explains

how

this

approach was made the

precincts.

vehicle for the most sjalendid exhibition of the plastic art combined with the
painters' skill that could

have existed

in the

whole of the Palace

Nowhere

else, certainly,

within the building was a place to be found for two

spacious and well-lighted Galleries, facing one another, to do equal justice to

these large compositions.

For the structures of which such a good record

has been preserved to us were associated with the remains of great painted plaster reliefs of bull-catching scenes, fragmentary, indeed, but a single piece of

which

the head

of the charging bull

at least,

is

alone sufficient to place

Minoan

art, in this

department

on a par with the masterpieces of Classical

Antiquity.

The

plans and elevations (Folding Plate, Fig. 106) executed, with com-

plete architectural details,

by Mr.

Piet de Jong, in accordance with

in

my

general arrangement, gradually elaborated, correspond

manner with the

existing remains and the space conditions,

the most exact and may, indeed,

be said to prove themselves.

The impressive effect of this avenue of approach was no doubt kept more in view owing to this being the chief public entrance of the Palace. the Whether or not the trident signs repeated in the North-Westernmost bastion conveyed a special allusion, this was the Sea Gate of the building. The outer gateway indeed opened West, but it clearly stood in relation to some paved way running almost North, a diagonal connexion with which is in fact preserved by a narrow causeway starting from above the Theatral Area' and heading towards the North Pillar Crypt and the Royal Villa.
'

III.

i62

THE NORTHERN ENTRANCE SYSTEM

The
outer gate stood in connexion with a kind of propylon, the guardis

room of which
Traces
inner
of

clearly traceable

on

its

South flank while

to the

North was,

apparently, a tower.
.

The roadway thus

entered on an elongated paved space

Gate^^'^^'

about three metres broad with a orradual rise Southwards. It is clear that, at "f the epoch to which the construction of the double row of bastions belonged, the upper end of this entrance space was blocked by a second gateway. The
place of the massive

on either side could be clearly traced, the gates themselves, opening inwards, doubtless being faced by rounded posts
piers of this

wooden

such as
the
'

we

see indicated in the case of a

more

or less contemporary tablet of

Town

Mosaic

'

representing a tower,i and again on the gate of the

Inside
this, again,

besieged stronghold on the silver rhyton from Mycenae.-

on the left was a narrow walled recess that seems to have been devised a warder of the inner gate. (See Plan A at end of Vol. ii.)

for

restored drawing of Mr. Piet de Jong (Fig. 107) shows this inner entrance and the porticoes above the ascending passage beyond much as

The

they must originally have appeared.

Safemea'sui"es

These
within,

triple

safeguards

the

narrowing of the entrance passage to

the

about a third of
side

its

original size, the construction of the massive bastions

due

to

and of a tower just

curiously

outside

inner gateway

siderapolice.

are

characteristic

of the

builders

of the

on its North Third Middle

Minoan Palace. There does not seem to be any probability that at the epoch to which they belong there was any serious outside menace. But there can be no doubt that in this Age the Priest-Kings of Knossos had accumulated vast stores of treasure in various materials within its walls, the evidence of which is to be seen in the Kaselles at that time constructed
' '

in

the magazines.
off

It

has already been shown that a large section of these

'

from the surrounding area, thus forming the enclave of the Kaselles '," and access to this was restricted by the construction of a wall across the Long Corridor with a doorway, the primitive key of which was no doubt in the hands of a special officer. In view of these interior precautions we have grounds for regarding the partial blocking of the North Entrance Passage as due to similar motives of police protection and general security rather than to any pressing military need. As a whole, indeed, the successive changes in the arrangement here
present a close parallel with the history of the

was now shut

West Magazines.

The
itself as

elongated paved space between the outer and inner gates served

the principal light area of a large open Hall with two rows of large
'

P. of M.,

i,

Fig.

226 (facing
'

p. 306),
i,

"^

i.

See above,

p. 93, Fig. 52,

P. of M.,

p. 449 seqq.

A-^Ju

Fig. 107.

Restored Dr.^wing showing Inner Gateway of N. Entrance Passage AND Porticoes overlooking Ascending Passage beyond.

164
Lower
Pillar

COLUMNAR HALL ABOVE NORTH PILLAR HALL

pillars,

square

the lower

gypsum

blocks of which were found in place.

This

Hall and
light

area.

Hall, which had also a narrower light area on its Northern border,^ may well have been used as a temporary storehouse of goods arrived by sea and even have served as a kind of Customs House of the Palace lords, where certain dues were levied. The paved floor within slopes with the fall of the ground, there being a metre difference between the base of the pillars at the two ends. Assuming that those at the North end were of the normal height of

Section b b
Fig. 108.

Sections across Pillar

Hall

(B. B)

and Upper Passage with Porticoes

(C. C).

about four metres, the two at the other extremity would have had the
exceptional height of five metres.
Pre-

sumed
columnar

\Ye must infer that this Pillar Hall corresponded with an upper columnar chamber, the West and South sides of which would have been bordered by a parapet surmounted by a colonnade, while a row of four columns ran along its major axis within above the piers below. There are grounds for concluding that this upper Hall was, like the South Propylaeum, of exceptional height, the central columns being in this case approximately The roof level, which was thus five metres up, would 4-20 metres high.^
. .

'

In Plan

A at

the end of Vol.

ii,

Pt. II, the

The columns above

the parapets would thus

two Eastern bases, the existing outline of

have had the normal height of about 3-60

metres required by the breadth of their espace-

which
'

is

irregular,
is

are

set

out as

column

bases, but this

hardly probable.
with about 4-60 metres in

As compared

ment from one another, this espacement being fixed by the position of the pillars below.

the case of the columns of the S. Propylaeum.


PORTICOES EAST AND WEST OF ENTRANCE PASSAGE
Passage.

165

have exactly corresponded with that of the Portico East of the Entrance

corridor of communication

was obviously necessary

to bring this fine Corridor

linking

Columnar Hall

into direct connexion with the Central

Court and adjoining Upper Palace regions, and it will Hall

59

be seen that the laying out of the terrace formed by the bastions East of the Entrance Passage had this
special object in view.

with Central Court.

The
West

terrace

on

the

side,

which at most

supported a loggia or gallery closed

end,
2

at its North was given a width of

-20 metres, thus allowing

1-50 metres columns and between the Fig. 109 a. Limestone Column-b.\se fro.m N. End of Portico. the wall. But the remains of the bastions forming the substructure of the Eastern terrace level go back 2-85 metres from the line of the roadway, which would have left a clear space of 2-20 metres between the columns and the back wall, affording convenient room for a through passage.

-<

67

>

space

of

See Section C. C, Fig. 108. Owing to the slope of the entrance ramp the floor of the Corridor at its North end is 1-5 metres above that of the Columnar Hall, a matter of seven low steps. As already observed, however, the
additional height of the Hall in comparison with that of the Corridor

about

metres as compared with 4

the

brought

its

roof to the

same

level.

(See Elevation, Fig. 106.)

Of
five

opposite gallery, of which

seven courses
full

of the

Northern

supporting bastion were preserved

metres at that point

we have much more precise information.

almost the

height of the terrace

Portico overlooking
side
of

On

the W.

En-

Northern edge, of this, only slightly displaced from its original position, was found the limestone column-base (Fig. 109 a), 59 cm. in diameter and belonging thus to a column about 3 metres in height which answers to that postulated for both this and the opposite colonnade. It had been fixed in The North end the floor, showing that no parapets existed in these cases. of the terrace where this base occurred overlooked a void, so that it could never have been a thoroughfare. On the other hand, its back wall conouter,

trance Passage.

tinuously

separated

it from the contemporary North - West Portico and entrance

system.

Only

at

its

Southern end, where

the terrace was only

two and a half metres above the pavement

of the ramp, there
a well-defined
is

gap

in

the masonry through

which a double
of twelve steps

flight

would

have reached the upper level. What seems

to

be part of a base
actually in position.

slab of the lowest step

is

Except
with three
structural divisions.

for

the

stepped access from

the

roadway,

this

Western formed an enclosed

terrace thus
stoa or elongated logS:ia.

It will

be seen

that the positions oc-

cupied originally by
the

upright

baulks

alone the face of the

supporting wall above
the roadway suggest
a division of the gallery into three almost

equal sections (Figs.

10(3, 114).

Grouping

the baulks with the

two outer sections, the firstof which isbroken by the flight of steps,

we

obtain,

indeed,

FiG. 109

the following espace-

Part of Flowering Olive-tree from S. B. OF W. Portico Northern Entrance Passage.

:

End

PAINTEDRELIEFS: OLIVE-TREESAND BULL-GRAPPLING

ments.

167

and second sections would each have been about 4-60 metres or about 15 feet in length, and the third 4-25 metres. The parallel
first

The

terrace

on

the

East

side

showed

divisions

correspondso

ing with these.

This

triple

division,
will

approximately

exact,

be

seen to have a possible bearing

of oreat interest on the arrange-

ment of the
stucco
reliefs,

series

of painted

which, according

to the clear evidence that has

come clown

to us, occupied the

backwall of the loggia.

Painted Reliefs from Frieze in Western Gallery: Remains

of Olive-trees.

These reliefs clearly belonged to some great composition representing bull-catching

Bull-

coniposi?
tions.

or bull-grappling scenes.

The

beneath the point

to
this

first

group of fragments came light about 1-50 metres

surface
in

level

at
in-

the

space

opening for by which the gallery was reached from the

cluded
the
the flight of steps

by

upper part of the roadway. Here, besides animal pieces, were considerable parts of ihe ^ l-iG. 110. Details OF Olive Sprays FROM Fresco showninFig. 109. (i) (Seetoo VoL.ii, Pt. II,p.474.)'oliage and branches of a
_,

111

flowering olive-tree, forming upper corner of a large panel (Figs. 109 b, 110).^ To harmonize with the figured reliefs of the composition the lines of the small branches, including the leafy sprays, are in each case slightly bossed. The leaves

part of the

left

'

The

horizontal upper line shows a slight

it

beam above.
the
left
is

The
also

perpendicular border on
preserved.
It

curve forward where

reached the wooden

well

had a

i68
Olivetrees of

FRESCOES OF OLIVE-TREES,
hues visible
p..

IN

SLIGHT RELIEF
which

are alternately of green, red, and black, in a few cases white, a naturalistic
reflection of the varying
in the foliage of olive-trees, of

background.

we

already find examples in

early
ings.^

M. M.

Ill

wall-paint-

!'

An

exquisite specimen

I
|
a.

from a basement behind the Stepped Porch is here repeated in Fig. 111. This variation
appears
in

|
|'
'

tint

indeed

still

earlier

on a fragment of M. M. II ^ polychrome pottery here re-

];

produced in Fig. 112.2 Here, too, we have similar asterisklike flowers.

tistic tradition

This long
variations
finds

ar-

of reproducing
of

the
olive

seasonal
foliage

more

',

distant sequel in a fragment

of wall-painting recently dis-

'

covered at Tell-el-Amarna,^ which supplies a very definite

proof of Egyptian indebtedness.
square

Fk..\i',m7'.nt of M. M. Ill Fkhsco KkOii Fk;. 111. B.\SEMENT NE.A.R STEPPED PORTICO, SHOWING OlIVE Sprays with Red, White, and Black Lea\'ES.

In the fresco before us the flowers depicted facing, like white asterisks,
section.
is

The
21
;

iiiipiiniiii|P(i'iT|iiipillTTi
ll.l
l|
I I I

iif|m""r""i"Tni
I. II

"""i
I I

in

..

..M

ac

ill

upper piece

cm.
the

wide by 21-4 high

31-5 cm. high.
pieces

lower 27 cm. wide by

Thetwo
which

together,

only show the tops of the

branches, are 52-9 cm.
'

J",

of M.,

Fig.

389.

i, p. 536, Dr. Roden-

waldt i^Tiryns,
also appositely

ii,

p.

195)

compares
olive

Fig. 112. Fragment of M. M. II b Polychrome Pal.ace Site, Knossos, showing Red and White

Pottery from Olive Sprays.

the

style

of the

sprays with that of the plants on the Hagia

rendering of olive-trees with dark green and

grey leaves.

Triada frescoes.
^

The fragments

are

now

in the

'

and Fig. 194, g. The design seems to be a conventional

See
ibid., p.

263,

Ashmolean Museum.

-"-"'

^>VV\ '<S'l,

Fig. 113.

Part of Olive-tree with Green, Red, and Black Foliage on Oval Bosses from Middle Section of West Loggia N. Entrance Passage.
:

I70

OLIVE-TREES, SIGN OF OPEN

of the M. M. II
(5

COUNTRY

much resemble those

while

ceramic example referred to above, the dotted stalk conveys a conventionalized reminiscence of the
(See Fig. 110. i)
.said

budding sprays.
It

on the whole these details, and the parallels that they evoke, give an archaic impression and incline us to place the execution of this wall-painting well within the limits of M. M. III. The other remains of olive-trees occurred above the roadway, from about the middle of the Portico onwards, the principal piece being found at the farther or Northern extremity of the terrace wall under Bastion A. must be
that

painted surface in this was a good deal worn away, but the foliage with its alternating green, red, and black tints was of much the same

The

Here too the surface was slightly relieved, in this the form of a succession of oval bosses following the ramification of case, in Of the branches and twigs on which the leaves and stalks were painted.
character as the other.

the larger piece of

this,

that

it

was possible

to put together,^ a part of the

upper ridged margin as well as the upper border on the right was preserved, showing that it had formed the upper right-hand section of a large panel
with a
Scene
laid in

wooden

casing (Fig. 113).

of olive-trees
in this

country.

composition affords a valuable indication that the bull-grappling scenes that it represented took place in the open country in contradistinction with the acrobatic feats connected with an artificial arena, or bull-rings, such as those seen on the fresco panels

The

insertion

be described below, from the Eastern terrace of the Palace. There can be little doubt that these painted plaster reliefs of olivetrees, a fair proportion of which was in each case continuously preserved, filled the ends of the terminal panels of a long composition of which remains were brought to light at intervals on the same approximate level over
to

a length of about 13 metres.

It is

a remarkable fact that whereas the other

in no direct connexion with one another and seem to have been casually swept together, a large part of these two trees showing their exterior borders should in these cases have been deposited in positions closely bordering what we may believe to have been their original place on It seems possible that the terminal wall-section to the South and the wall. North may have been more strongly compacted with a view to holding the

fragments found stood

enclosed panels.

The
'

principal remains of painted plaster fragments lay along the dotted

line across the elevation

on the folding Plate, Fig.

Pt. II, p.

ll-i,

as indicated
is

by the
and

Reproduced from

(7/. (TzV., ii,

474,

'

The

larger

piece

52-5 cm. high

Fig. 281.

48-2 broad.

Fig. 114.

Elevation of

STRATUM
asterisks.^

IN

WHICH RELIEFS WERE DEPOSITED

largely

171
Stratum

They were
applied.

embedded

in

debris

of rubble

masonry

belonging to the face of the back wall to which the stucco base of the

reliefs jng
P^^'^'^^

had been

The whole

deposit indeed seems to

mark a destruction

ments.

= Green Blue M Red

Fig. 115.

Dark Red

Black

Part of Foreground of Stucco Friezes showing Conventional Rockwork.

of the upper fabric of the Portico, carried out at

some

particular time.

As

the stratum itself was on an average quite a metre higher than that on

which L. M. Ilia pottery rested, there is every reason for believing that this destruction took place not earlier, at least, than the Geometrical Age, the remains of which appear in the neighbouring area North of this.^

The

striving after a natural effect in the painted reliefs of the olive- Remains

trees stands in strong contrast to the very artificial manner in which the work rocky foreground of the composition was executed. Some fragments of ^^^^^^ this, found together about the centre of the line of deposit, are restored in

showing part of a band of intersecting waves with relieved borders, one of them about 18 centimetres in height, though probably of varying
Fig. 115,
These must not be confounded with the eight-rayed star signs on some of the blocks of
^

the
'

'

bastions
first

'.

this side. Here a abundance of Geometric pottery had been sunk on the Southern border

the

Palace boundary on

well containing an

'

'

The
'

metric

Geodefinite remains of the town begin about 20 metres North of

'

of the

Minoan

'

Pillar

Crypt

'.

172

THE

BULL'S

HEAD RELIEF

dimensions, and representing the grain of the stone in the conventional manner. The outer curves here are coloured a bluish green, the inner a

deep red, while, within this, is a cut conglomerate section repeating the same hue with inner black bands, containing red and black-bordered pebbles.

Bull-grappling Reliefs.
Bovine
reliefs.

came out at intervals along the whole of this These belonged to more than one animal, though stratigraphical horizon. up and in many cases very fragmentary. Among they were much mixed the better defined pieces was a fore-thigh, remains of several legs, and part showing on the left a red of an animal's flank 63 centimetres by 43-5 ground with a waved edge, succeeded by a broad white patch on which were red spots, one of them of the characteristic quatrefoil shape.
Parts of bovine reliefs

EAR

42

cms

78 cms

-4-7cmsFiG. 117.

Section of Bull's

Head Relief across Eye and Forehead.

Head
bul^" noble

of
its

was much abraded, but it is possible that it belonged to the same animal, of which an almost complete head was found. This lay about 80 centimetres beneath the surface, a metre out from the border-line of Bastion B and somewhat North of its centre ^at a spot where these remains were specially concentrated. This head, which is that of a gigantic bull of the Urus breed and measures 64 centimetres from the back of the head behind the ear to the tip of ^^g nose, was incomparably the finest of all the painted stucco reliefs here discovered (Fig. 116 and Section, Fig. 117). It still stands forth as one of the noblest revelations of Minoan Art. It is simple and large in style, but instinct with fiery life. The moulding, though partly in a lower plane, merges into very high relief in the treatment of the eye and forehead, while the upper circuit of the ear is executed in the round. The surface is of a deep ruddy hue with a bluish white spot of
surface of this

The

Fig. 116.

Painted Stucco Relief of Head of Charging Bull, from West Portico of N.

Entrance Passage.


174
CLisped outline

THE

BULL'S

HEAD RELIEF
The
pupil of the
is

on the bridge of the nose.

eye

is

of

a yellowish white, and the eye-ball, ringed with coloured bands,

exceedingly

prominent (Fig. 118). The upstanding ear marks intense excitement; the tongue protrudes, the hot breath seems to blow through the nostrils. The folds of the dewlap show that the head was in a lowered position it is that of

a bull coursing wildly.

Foot and hoof of
bull.

It is possible,

indeed, that a bovine foot and hoof with a part of the

BROWN MADDER

YELLOWISH WHITE BROWN MADDER

RED LINEROUNDEYE LID JTER LINE OF RED

BROWN MADDER
PALE BLUE

BROWN MADDER
Fig. 118.

THE
View of Bull's Eye.

BULL'S EYE

background attaching
to the

same animal.
it

to it found a couple of metres South of this really belongs Both the character of the relief and the bright red colour
is

are identical, and the action

seen to correspond.
le^.-

As

its

outline and the set

to a oallonino-

of the hoof shows,

is

part of a hind

and

also

beloneed

animal (Fig. 119).

has no connexion with the ground, and, like the forepart of the head itself, is set against a background of the same bright ruddy hue
the

The hoof

Minoan

artists

never shrinking from profiling figures against backgrounds

time, however, behind the bull's ear there appears a patch

of almost the same tone of red.

At

the

same

of blue, which

Part of

woman's
leg.

have formed an uppe* zone of the field. This blue upper zone seems to have recurred on other panels. A fragment found near the bull's head was at first erroneousl)' taken to be part of its horn its taper form and the corrugated surface towards
well

may

the larger end, like that of the root of the horn, suggesting a superficial

BULL'S HOOF,
resemblance.^
there can be no doubt that
this case, a greyish white,

AND PART OF WOMAN'S LEG

it

175

Its real character,

however, has long been recognized, and

formed part of a woman's leg

the pale

tint, in

being the regular mark of the female sex.

The

tendons are rendered

ankle,

in a

symmetrically conventional manner, and above the

off,

where

it

was broken

traces of the horizontal bands of the usual

puttees or leggings are clearly visible (Fig. 120). Just at this point, where the ankle
is

broken

'WW

'^WW-S

away, there

is

visible a small section of a blue

running diagonally downwards.

In this

band band we

Fig. 119.

Foot and Hoof of Bull's Hind Leg.

Fig. 120. Part of Leg of Female 'Cow-boy' with Traces of Puttees and Ankle-ring.

must

certainly recognize a part of one of the silver ankle-rings, coloured

blue, already described in

connexion with the

left, in
it

'

Procession Fresco'.^

The
by the
'

leg

is

turned to the

the direction opposed to that indicated

to connect
head,
it.

bull's

head, with which

seems most natural

vi),

We

In Knossos, Report, 1900 {B.S.A.,

it is

horn seen on the

'

bull's

p. 52, Fig. 10,

set against the

stump of the

-f.i?/'i^., ii,Pt.

n,pp.726, 72 7,and Fig. 454.

176
Anklering.

INDICATIONS OF PARALLEL FRIEZE IN

E.

GALLERY

Part of female
thigh.

have here, then, in all probability, some parallel scene to that on the Vapheio Cup,^ in which a girl is seen clinging desperately with both legs and arms to the horns of a charging bull. Among other fragments of human figures was a section of a bare female thigh, broken off a little above the knee and presenting a pure white surface. It is possible that this and what seems to have formed part of a female arm may have belonged to the same figure as the leg. Only one piece of a male buU-grappler was sufficiently preserved for a definite This was a section of a fore-arm still showing its ruddy flesh tint. description. On the West side, then, of the Entrance Passage, bordering the supporting bastions of the original Portico, we have evidence on the same
archaeological stratum of the occurrence of a series of deposits of painted
stucco fragments, supplying at least a general idea of the composition.

We
of the
'

have here

olive-trees, parts of at least

two bulls

one

at full gallop

with his head

down fragments
'

of a man's

arm and of

the legs of a

woman
is

Cow-Girl

class.

We

see, too, the

remains of a conventional rockIn addition to this there

work border forming the base of the whole.

of the series of
reliefs.

evidence of a triple structural division, suggesting a corresponding division

Indications of Parallel Frieze at

Back

of Eastern Gallery of

Entrance Passage.
Indications of parallel
frieze
in

E.

Gallery.

may judge by the architectural arrangement now by the fragmentary evidence of two actual reliefs, some similar frieze had existed on the Eastern side of the gangway. It has, indeed, been pointed out above that the need of providing a corridor of approach, more or less on the level, from the Central Court to the Upper North Hall as well as the dictates of architectural symmetry must lead us to suppose that the Western Portico, to which bull-hunting scenes resembling those of the Vapheio Cup A belonged, was faced by another on the Eastern side of the Entrance Passage.
If,

moreover, we

restored as well as

Bull's leg

The
tion.

deliberate destruction of a large part of the substructure of this

found
con-

in

gallery would necessarily have obliterated

most traces of

its

original decora-

nexion
with
it.

Isolated pieces of evidence of the existence of painted stucco reliefs on

this side did,

however, occur

in the

one white with black spots like above the remains of Bastion A A, and which seems
'

shape of two fragments of bull's legs, that from the Spiral Fresco Area ',^ found
to
i,

have belonged
376,
Fig.

to the
this

See below,

p.

i8i,

and

Fig.

125.

The
is

P. of J/.,

p.

273

was

sex of the figure, as there demonstrated,

clearly

evidently

more

or less contemporary,

brought out.

PARALLELS FROM VAPHEIO CUPS

level at this point.

177

adjoining section of the back wall that had once existed above the terrace-

The

fragments failed to convey any idea of the action

of the animal or animals to which they belonged, but there remains a strong a /r/cr/ presumption that the frieze on this side stood in a relation to the

by the Vapheio vases and in an imperfect form by the Elgin reliefs. If on the one side the spectator could see the sensational episodes of a drive of bulls, on the other he might have followed the gradual unfolding of a more quiet plot resembling that of the Vapheio Cup B, and illustrating the capture of a bull by means of a decoy cow.
other, similar to that presented

Parallels suggested

by Vapheio Cups.
indications in the remains of these
Parallels

All the features of which

we have

painted stucco friezes recur in the repousse reliefs of the Vapheio

that supply a detailed record of episodes in a

Cup

vapheio.

Minoan composition
a).

relating to

the hunting of wild or half-wild bulls (Fig. 123,

infer

In this case, as

we may

from the date palms

scene
hills
is

represented as well as the olives (not necessarily

wild), the

laid in a

more

or less civilized country-side or park, though

with rocky
also, as in
it

around, indicated by the borders above and below.

in the

Here,

the parallel class of designs illustrating the sports of the bull-ring,

will

be seen that 'cow-girls' as well as boys took part

is

dangerous
separate Recmf^;

acrobatic feats.

In this case, too, the subject

episodes,

clearly divided into three

is

and the same

triple

division

noticeable

in

the

composition

jg

presented by the other cup, the subject of which illustrates the capture of
a bull by means of a decoy cow.

division.

terminus a quo for the date of the Vapheio Cups was supplied by the last ceramic elements of the Tomb, repeating the Ogival Canopy' motive and belonging to L. M. I b, or approximately from x 500 to 1450 b. c.,^
'

though
earlier
is

it

is

possible that the cups themselves dated back to at least the

I.

phase of L. M.

The shape

of the cups, as has been already shown,

this

distinctively Cretan,

and a specimen of

type occurred in a M. M. Ill

indeed,
is

interment at Mochlos (Fig. 122). ^

'

The characteristic handle,

gem
polychrome
jar,

already

From such

scenes as that on the

that they

had already become

showing Genii watering nursling palms (see A. E., Alyc. Tree and Pillar Cult, p. 3 [ior],and
Fig. i)
it

a familiar feature of the landscape by M. M. II i^.

They
'

also appear
ii,

on an

intaglio of that date.

is

reasonable to conclude that the

P. of M.,

Pt. II, p. 490, Fig.

'Ap;^.,

296

a, a, b

date palm
into Crete,

was introduced by the Minoans

(Tsountas,
p. 154),
^

'E^.

1889,

PI.

VII, and

and did not form part of the

But
it is

indi-

and see
M.,
ii,

p.

489 seqq.
xii

genous Aegean vegetation.

is

clear, as

Seager, Mochlos, p. 62,

Pt.
II,

and

Fig. 31.
c.

shown by the group of three palms on a

III.

fine

Cf. P. of

p.

481, Fig. 288,

178

PALATIAL PROTOTYPES OF SCENES ON CUPS

^

imitated in clay at least by the beginning of that Period (see Fig. 121)

and must go back

to

metal prototypes datingfrom the preceding Age (M.M.

II)-

Fig. 121.

Fragment of Clay Gobi.et showing Handle imitated from Metal Form

OF 'Vapheio' Type: Knossos M. M. Ill
a.

Fig. 122.

Bronze Cup of 'Vapheio' Form from Wochlos Tomb.

exactly paralleled by the example in veined stone

The shape of the Cups itself is

found with h. M.
Did the
Palace
friezes
I

a pottery at Knossos,^

and by those depicted among

the gifts from Keftiu dating from the early part of

Thothmes
somewhat

Ill's reign.^

That the Vapheio Cup

sensational aspect
is

exhibits these traditional scenes, of which

our records go well back into

M.M.

Ill, in a

later

and more

supply

model ?

But it may well be asked whether always possible. the outstanding model from which the artist of the cup as well as the
engravers
'

who epitomized such

of M.,
i,

scenes on intaglios drew their inspiration,

d.

See

-P.

p. 243,

and

Fig. 18.3

imitated from the Vapheio type.

''

As already shown
a Clay

(ii,

Pt.

I,

p.

175 and Fig. 89)

Ibid.,
Ibid.,

ii,

Pt.

I,

p. 380, Fig. 212.

Cup from

the Nienhagen Cemetery in

'

ii,

Pt. II, p.

534,

Figs. 337,

338:

Silesia belonging to the Early

Bronze Age

is

Tombs

of

User-Amon and Senmut.

"^>':7/

o
Pi

>

a <
a

H o
OS

fa

U O
o o
CO

o o

Q
H
2;

o H

Q
Q
2;

Ed

<

pq

i8o

RELIEFS ON VAPHEIO CUP A

was not in its main features, at least, supplied by the great series of reliefs set up in conspicuous positions above the Northern Entrance Passage of the May not the splendid plabtic compositions, of which we Knossian Palace. have here a fragmentary
record,

overlooking

in

the great

manner the Sea Gate of Minoan building,

have affected the works of lesser Art as the sculptures of the Parthenon did those of Classical Greece ? It seems possible that the
structural

division

into

three parts, here traceable,

may have
triple

conditioned the

Fragmentary
reliefs in

arrangement that seems to have been a permanent feature of these compositions. It will be seen,
indeed, that some sculptural
Fig. 124.

Bull caught by Net on Vapheio Cup

A.

Elgin
Collection.

fragments from the Elgin

Mycenae, once more lead us in an unexpected fashion to the great Palace of Knossos as the main source of these Vapheio groups.^ The Elgin reliefs, as we shall see, point to two separate groups, one containing a charging and the other a stationary figure of a bull, and this corresponds with the antithetic composition of the two groups depicted on the Vapheio Cups. In one case we see there a bull-hunting scene, in the other, as will be shown below, a scene of capture by means of a decoy cow. Both groups, moreover, divide themselves into three episodes, an arrangement which in the case of the frieze of reliefs above the Western bastions of the Northern Entrance Passage was almost imposed by structural conditions.
Collection, found at

Reliefs
The
Vapheio
reliefs.

on the Vapheio Cup A.

brief description

of the designs on the two gold cups from the

b).

Vapheio

Tomb may
p.

be given here (see Fig. 123, a and

Cup A
Bull-

The
'
''

Bull-hunting scene on the

195 seqq.

Cup

of Fig. 123, presenting the more

hunting
scene.

See below,

Pis.

VIl-X), and a careful technical descripby G. Perrot in Hist, de

I'

The

original publication of the

their discoverer,
'(/>.

Vapheio

tion

Art,

vi, p.

784

Cups by
peared in

Ch. Tsountas, ap129-71, and

seqq. (see, too. Figs. 369, 370,

and

PI. X^').

'Apx-,

'889, pp.

RELIEFS ON VAPHEIO CUP A

sensational design,

i8i

is here reproduced from the fine original drawing of Monsieur E. Gillieron, pere/ as well as the tamer subject, centring round a decoy cow, of the com-

panion vessel (B).

The
indi-

photographic views (Figs.

124-127) bring out

vidual scenes.

The

three

episodes

here grouped together must be regarded as the results

of a
'

drive

'

of wild or half-

wild bulls along the bottom of

some wooded glen with

steeps

rocky

beyond

on

either side.

The
'

animals

were thus hurried forward on a kind of obstacle

race
'

towards

the

point
Fig. 125

where their wild career was checked by a rope

cradle stretched across the

GlRL CLINGING WITH LeGS AND ArMS TO BULl's Horns. From Vapheio Cup.

course between two olive-trees, to the trunks of which the ropes were made fast. The same device in a simpler shape, where only a single rope was used,

has been already illustrated by the miniature painting on the crystal plaque.^ The object immediately in view was, by checking the headlong rush of the animals, to afford the cow-boys ambushed near the obstacle, an oppor'

',

tunity of showing their acrobatic skill of grappling the bulls.

will

In one case

it

be

seen that the beast has either turned in time or has cleared the

and is galloping off to the right. The middle scene shows a bull, who, endeavouring too late to turn, has been caught sideways in the cradle The bull to the left, however, and is partly entangled in it ^ (Fig. 124). either avoided or cleared the rope barrier, and has already given a very has good account of one of his assailants. The youth to the right is flung to the ground, his arms thrown behind him like the stricken lion-hunter on the
barrier,

dagger-blade from the Mycenae Shaft-Grave.*

^

My

thanks are due to his son for these

Coloured Plate XIX, and

61.
^

cf. p.

no,
'

Fig.

reproductions of
ings.

M.

Gillieron's anastatic draw-

Figs.

For the fine photographs from which 125-7 are reproduced I am indebted

There

is

no question of a

'

net

in the

ordinary sense.

to the kindness of Prof. G. Karo.

See above,

p.

121, Fig. 71, a.

i82
Girl
bull.

RELIEFS ON VAPHEIO CUP A

The
other figure
is

that of a

girl.

Springing forward from some coign

of vantage she has locked both legs and arms round the monster's horns in

The
twisting
feat.

such a

way

that

it is

not in his power to transfix her (Fig. 125).

full

This sudden
it

onslaught, with the

weight thrown on the

bull's

head, has twisted

if

half

round and threatens

neck, a feat,

to bring

him down

in full career,

not to break his

we

are told,^ which the Thessalian youths, springing from their

ponies, actually performed.

In an analogous motive, not infrequently found on seals and seal-

impressions of the early part of the Late Minoan Age, the attempt
to twist the animal's

is

made

neck by seizing a horn

in

one hand and the jaw or

at grips with

nozzle in the other.'^

The
limbs that

figure

on the Vapheio Cup, thus desperately

is

the

horns of the great beast,

it

certainly that of a
fact,

girl, in

spite of the sinewy

in

any description of the scene, should be clear to any one intimate with Minoan iconography and who remembers the parallel wall-paintings in which the sex is declared by the white skin colour. In these, as already observed, the cow-boy costume is copied even to the imitation of the male sheath ',^ the only distinction being the more elaborate coiffure, at times accompanied by a bright bandeau
displays.

This

not apparently noted

'

'

'

or ribbon over the forehead.

is

In the present case the luxuriance of the locks

which have a quite short above the forehead,'' while to prevent the exuberance of the tresses behind from becoming an impediment, they are partly bound up into a kind of chignon, like the
in striking contrast to those of the fallen youth, in front.

appearance

Here we see a kind of

curling fringe

Greek

krobylos.

while elsewhere
in

In this case the only olive-trees are those to which the cords are bound, we see palm-trees, a sign perhaps of the more open country

which the herd seeks escape.

Design on the Vapheio Cup B.

The subdued movement

described above.
'Pliny

visible

on the other cup (Fig. 123,

b,

and see

Figs. 12G, 127) supplies a skilful

foil

to the sensational subjects of that

(H.N.

viii.

172)

relates

of

the
that

PI.
'

XIII,

f,

and

cf. p.

213, Fig. 144 below,

hair
is

mounted
this

Thessalonian

ravpoKa^a-wTai

The
in

front

border of the

often

they were actually able

to kill the bulls in

waved
the

the case of male figures, but

is

the

manner

('

cornu

intorta
p.

cervice

tauros

fringe of short curls

a distinctive feature of

necare').
'

See below,
p.
ii,

229.

women's

coiffure, continually

repeated in

See below,
P.

231 and Figs. 162-4.

Pt.
I,

wall-paintings.

'

of M.,

p.

35,

and Suppl.

RELIEFS ON VAPHEIO CUP B

The
story here depicted
is

183
it

simple enough, though

its

seems
too,

to
it

have

Vapheio

been quite inadequately realized by

commentators.

Here,

itself into

divides capture three succes- ''"'ough

sive scenes

answering
we may
to

decoy

cow.

in this case, as

well

suppose,

the

triple division of the ter-

race of the East Portico

Knossos and its theme is the capture of a half-wild steer by

at

means of a decoy cow.

The

successive stages

of the capture are really

three separate episodes,

but

these

have

been

woven by the
one
Fig. 126.

artist into

continuous
In the

comscene

Vapheio Cup B

showing Bull and Cow in Amorous Conversation.

:

position.
first

the bull

is

depicted nosing the cow's

in

trail

in the

second his treacherous

tail

companion engages him

shows the sexual reaction.^ The extraordinarily human expressiveness of the two heads as they turn to one another is very characteristic of the Minoan artistic spirit, and quite foreign, as regards animals, to monumental Greek

amorous converse, of which her raised

Art.

It is

nearer to Sir

Edwin Landseer.

In the third scene the herdsman takes advantage of this dalliance to

'

The
is

identification

of the animal whose

fact

on which
in the

this

conclusion hinged.

He
to

sex

concealed with a decoy cow, and the

observed that the raising of the farther animal's

tail

consequent explanation of the whole scene,

was made by

middle scene answers in

in

fact

me

in 1906,

when

procured two

a physical sign of sexual inclination regularly

of M. Gillieron's facsimiles of the cups for the Ashmolean Museum. It was referred to by me
at that time in

shown by the cow

such cases.

The

sex of

the animal (otherwise clearly indicated by the

bull's action) is thus in

a public lecture in the

in

Museum
and MS.

and

set

forth

the printed label

determined. Dr. Korte, view of this, proposed an explanation someparallel to

Ten years later an interesting made by Geheimrat Rudolph Lipschke of Bonn and published by Dr. A.
catalogue.

what

my

own.

Instead of recog-

observation

nizing a continuous group, however,

he saw

three separate bulls in a single scene, a view

that

Korte i^Jahreshefie
(1906), pp.

d.

Oesterr. Arch. Inst., ix

would

destroy

the

whole

dramatic

294,

295) confirmed the central

ensemble.

i84

YOUTH DRAGGING GOAT ON KNOSSIAN FRAGMENT

mighty beast by his hind bellowing with impotent rage
leg.
:

lasso the
raised,

The
ore

bull

is

seen with his head

cbr,

ravpos
afxtpi

ripvyev eXKOfitvo^ 'EXikcovloV KOVpCaV

It

dvaKra

kXKOVTCCV^
in this

may be

here observed that the Homeric picture cited

passage

Fig. 127.

\'apheio

Cup B (showing

L.^ssoing of Bull).

of the dragged bull roaring as the

young men drag him

to the altar, receives a

on a fragment of a steatite site of the Knossian Palace. It is here a he-goat that, despite his struggles, is dragged by a sturdy youth, probably to a similar destination. Beneath is seen a good specimen of a Minoan helmet, with a curious curved crest and apparently
fresh illustration in a variant form from the relief

'rhyton'^ found some time since North-West of the

set with sections of boars' tusks (Fig. 128).

Single
bull

It is clear that

on the Cup we