DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.3044#0221
7 - STYLE-GROUPS1
A final step in the study of early Cretan seals is to place them in definable groups, which,
where possible, can be dated stratigraphically. The emphasis is on the word "group" rather than
"style" and refers to the specific manner of rendering the motifs, the combined secondary criter-
ia of shape/material combinations , iconography, syntax, carving technique and technical quality
as well. The word "style" alone is avoided as it implies a degree of homogeneity such as the
work of a single artist. The different aspects of style, treated individually in the preceding chap-
ters, give way to a total impression.
This material is unlike, for example, Greek vase painting, which in itself is more stylistically
homogeneous and which offers more and finer dating criteria. The use of the concept of style in
a traditional and restricted sense (i.e. solely the style of the device without reference to other fac-
tors) does not bring us further in dating early Cretan seals. Analagously, who would study prehis-
toric ceramic solely on the basis of the motifs and without reference to the fabric and other fac-
tors? The use of carving technique as a criterion for defining a style-group is not surprising, for
any change in technique or material (soft vs. hard stone, for instance) shall have a direct effect on
the appearance of the motif. Technique and style are inextricably linked to each other. The group-
ings are to some extent iconographical, but on the other hand, many motifs (e.g. petaloid loops)
occur on seals from both Early and Middle Minoan groups. In any case, a degree of visual homo-
geneity is essential in order to define a style-group. Of primary importance is that the groupings
themselves be accepted; their exact dating is less important and often only an educated guess.
The fact that some of the groupings are composed of a few seals while others contain many sug-
gests the chance nature of the finds. We are lucky to have any examples at all of a given group
and perhaps new style-groups shall be identified for which no seals are as yet known.
The method used to form some of the groupings could be called chain dating and functions
in the following way: Most early Cretan seals are engraved on two or more sides. Provided that
both motifs are stylistically developed, both may be used to tie stylistically similar motifs of oth-
er seals into a group. An example is the Parading Lions/Spiral Complex. The stratigraphic basis
for the dating of this group is several seals from the EM II-MM IA grave in Marathokephalo (CMS
III 224, 227, 312 etc.) and from a reported EM III-MM IA context in Archanes (CMS III 385
etc.). The chart on the next page does not show a chronological progression but simply how seals
can be related to each other typologically and stylistically. The composite spiral of CMS III 224b
is similar to those of CMS III 254c and 227b. The J-hooks which form the composite spiral of
CMS III 227a are essentially the same as those of CMS III 82. The bilateral branches of CMS III
254a,b, a motif both distinctive and rare on early Cretan seals, resemble that of CMS III 305b.
Given the more limited stylistic resemblance, 305 is only "near" to this complex. The outline
composition of figures and the Vierpass of CMS III 385 correspond to those of CMS III 312.
Further evidence for the dating of CMS III 312 is a comparison of side a with CMS III 224a.
Finally, nearly all of the motifs shown are carved into ivory Stamp Cylinders.
A final step in the study of early Cretan seals is to place them in definable groups, which,
where possible, can be dated stratigraphically. The emphasis is on the word "group" rather than
"style" and refers to the specific manner of rendering the motifs, the combined secondary criter-
ia of shape/material combinations , iconography, syntax, carving technique and technical quality
as well. The word "style" alone is avoided as it implies a degree of homogeneity such as the
work of a single artist. The different aspects of style, treated individually in the preceding chap-
ters, give way to a total impression.
This material is unlike, for example, Greek vase painting, which in itself is more stylistically
homogeneous and which offers more and finer dating criteria. The use of the concept of style in
a traditional and restricted sense (i.e. solely the style of the device without reference to other fac-
tors) does not bring us further in dating early Cretan seals. Analagously, who would study prehis-
toric ceramic solely on the basis of the motifs and without reference to the fabric and other fac-
tors? The use of carving technique as a criterion for defining a style-group is not surprising, for
any change in technique or material (soft vs. hard stone, for instance) shall have a direct effect on
the appearance of the motif. Technique and style are inextricably linked to each other. The group-
ings are to some extent iconographical, but on the other hand, many motifs (e.g. petaloid loops)
occur on seals from both Early and Middle Minoan groups. In any case, a degree of visual homo-
geneity is essential in order to define a style-group. Of primary importance is that the groupings
themselves be accepted; their exact dating is less important and often only an educated guess.
The fact that some of the groupings are composed of a few seals while others contain many sug-
gests the chance nature of the finds. We are lucky to have any examples at all of a given group
and perhaps new style-groups shall be identified for which no seals are as yet known.
The method used to form some of the groupings could be called chain dating and functions
in the following way: Most early Cretan seals are engraved on two or more sides. Provided that
both motifs are stylistically developed, both may be used to tie stylistically similar motifs of oth-
er seals into a group. An example is the Parading Lions/Spiral Complex. The stratigraphic basis
for the dating of this group is several seals from the EM II-MM IA grave in Marathokephalo (CMS
III 224, 227, 312 etc.) and from a reported EM III-MM IA context in Archanes (CMS III 385
etc.). The chart on the next page does not show a chronological progression but simply how seals
can be related to each other typologically and stylistically. The composite spiral of CMS III 224b
is similar to those of CMS III 254c and 227b. The J-hooks which form the composite spiral of
CMS III 227a are essentially the same as those of CMS III 82. The bilateral branches of CMS III
254a,b, a motif both distinctive and rare on early Cretan seals, resemble that of CMS III 305b.
Given the more limited stylistic resemblance, 305 is only "near" to this complex. The outline
composition of figures and the Vierpass of CMS III 385 correspond to those of CMS III 312.
Further evidence for the dating of CMS III 312 is a comparison of side a with CMS III 224a.
Finally, nearly all of the motifs shown are carved into ivory Stamp Cylinders.