DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.810#0093
§ 53- Influence of Natural and other Designs of M. M. Ill
Wall-paintings on Late Minoan Ceramic Decoration.
Artistic continuity unbroken by Catastrophe; Middle Minoan tradition
of wall-painting maintained in restored buildings ; Reflection of floral types
on walls upon L. M. 1a pottery ; Madonna Lily type ; Olive sprays ; imitated
at Tell-el-Amarna; Papyrus, symptom of renewed intimacy zvith Egypt;
Dependence of L. M. I ceramic types of papyrus on frescoes ; The ' Sacral Ivy'
motive—its appearance on wall-paintings; Origin from canopied papyrus
wand (waz)—M. M. Ill examples ; Sacral Ivy spray springs from Minoan
' Tree of the World' on Ring of Nestor ; Comparison with ' Golden Bough' ;
It forms a character of Minoati scripts ; Cypriote Vo f ; ' Sacral Ivy-leaf' on
L. M. I vases; Ivy-leaf naturally reproduced; Its divergent stalks derived
from geometrical pattern ; The ' Ogival Canopy' motive—outgrowth of ' Sacral
Ivy'; Palm-Tree motive; Triple group on M. M. II vase; Survival of
pictorial tradition of group of three date-palms on L. M. lb vases and on gold
mouthpiece, from Old Paphos (L.M. Ilia); Grass-like excrescences of later
types traced to inflorescence of date-palm ; Late Mainland degenerations ; Sea-
pieces and ceramic imitations; Eully developed at Kuossos in M. M. II b—
Seal-impression and flue relief on steatite ' rhyton'; Marine reliefs taken over
in repousse" work—Bronze Minoan amphora from Cyprus and golden bowl
from Midea ; Metal reliefs also influence vases in marine style—' Marseilles
ewer'—from Egypt—probably of Knossian fabric; Knossos a centre of
L.M. lb vases in this style; Marine ceramic style also existent before close
of L. M. la; Its progressive degeneration—break up of conpositc designs;
L. M. Ill stage.
Natural The varied plant designs in their naturalistic setting of which the stucco
designs of fragments of the ' House of the Frescoes' have supplied such an extraordin-
Frescoes ° rr
key to ary revelation—standing as they do for a much greater volume of similar
paintings, designs that have been lost to us—throw a new light on whole classes of
vase decoration that distinguish the ensuing Late Minoan Age.
Artistic In the wall-paintings these natural subjects had already had a long
continuity history. Attention has been called to the fact that the artistic industry of the
unbroken / . J
by catas- time immediately preceding the great overthrow, ot which we have so many
troP e- evidences, continued practically unchanged in the works of the succeeding
restoration. The fresco painters, like the potters and other artisans, proceeded
on the old lines, and it was not till a somewhat later date that a style
Wall-paintings on Late Minoan Ceramic Decoration.
Artistic continuity unbroken by Catastrophe; Middle Minoan tradition
of wall-painting maintained in restored buildings ; Reflection of floral types
on walls upon L. M. 1a pottery ; Madonna Lily type ; Olive sprays ; imitated
at Tell-el-Amarna; Papyrus, symptom of renewed intimacy zvith Egypt;
Dependence of L. M. I ceramic types of papyrus on frescoes ; The ' Sacral Ivy'
motive—its appearance on wall-paintings; Origin from canopied papyrus
wand (waz)—M. M. Ill examples ; Sacral Ivy spray springs from Minoan
' Tree of the World' on Ring of Nestor ; Comparison with ' Golden Bough' ;
It forms a character of Minoati scripts ; Cypriote Vo f ; ' Sacral Ivy-leaf' on
L. M. I vases; Ivy-leaf naturally reproduced; Its divergent stalks derived
from geometrical pattern ; The ' Ogival Canopy' motive—outgrowth of ' Sacral
Ivy'; Palm-Tree motive; Triple group on M. M. II vase; Survival of
pictorial tradition of group of three date-palms on L. M. lb vases and on gold
mouthpiece, from Old Paphos (L.M. Ilia); Grass-like excrescences of later
types traced to inflorescence of date-palm ; Late Mainland degenerations ; Sea-
pieces and ceramic imitations; Eully developed at Kuossos in M. M. II b—
Seal-impression and flue relief on steatite ' rhyton'; Marine reliefs taken over
in repousse" work—Bronze Minoan amphora from Cyprus and golden bowl
from Midea ; Metal reliefs also influence vases in marine style—' Marseilles
ewer'—from Egypt—probably of Knossian fabric; Knossos a centre of
L.M. lb vases in this style; Marine ceramic style also existent before close
of L. M. la; Its progressive degeneration—break up of conpositc designs;
L. M. Ill stage.
Natural The varied plant designs in their naturalistic setting of which the stucco
designs of fragments of the ' House of the Frescoes' have supplied such an extraordin-
Frescoes ° rr
key to ary revelation—standing as they do for a much greater volume of similar
paintings, designs that have been lost to us—throw a new light on whole classes of
vase decoration that distinguish the ensuing Late Minoan Age.
Artistic In the wall-paintings these natural subjects had already had a long
continuity history. Attention has been called to the fact that the artistic industry of the
unbroken / . J
by catas- time immediately preceding the great overthrow, ot which we have so many
troP e- evidences, continued practically unchanged in the works of the succeeding
restoration. The fresco painters, like the potters and other artisans, proceeded
on the old lines, and it was not till a somewhat later date that a style