DOI Page / Citation link:
https://doi.org/10.11588/diglit.9804#0062
THE HARVESTER VASE 37
or war, we can at least be sure that the processidn is
a religious one. The sistrum was never used for war
music, but only for the purposes of religion,1 and some
gems that represent the tasselled garment that the leader
wears show it in a distinctly religious connection. On
a gem from Zakro ■ it is being carried by a man who does
not wear the loin-cloth, but a baggy kind of knicker-
bockers like the Moslem trousers of to-day ; he is carrying
it away from another man similarly clothed, whom he
presumably has been disrobing ; between them is a
sacred double axe. On a seal from Hagia Triada ' are
two figures in the same knickerbockers, but here we
have the robing, and not the disrobing ; the one man
has taken the cope from the other, and has put it
over his head, but the fact that his arms do not come
through show that it is not properly on, and his knicker-
bockers show beneath it ; he has his back turned to a
pillared building that seems to represent one of the
shrines we find on other gems and frescoes.4 Two of the
copes again are found on a sardonyx gem from the
Heraeum at Argos,5 flanking a bull's head with the double
axe above it. May we not see such a thing, too, in the
" cuirass," 6 worn by the man on the gem from Knossos
who is bending his body forward towards a seated Calf-
Man monster ? The way that the cope stands out from
1 In spite of Virgil, /En. viii. 696. So R. Weil in Rev. Arch.
1904, p. 52.
2 Hogarth in J.H.S. xxii. 1902, Plate VI. No. 6 = fig. 5, p. 78.
Evans in B.S.A. vii. p. 54, thought it was a woman.
3 Halbhcrr in Mon. Ant. xiii. 1903, fig. 35, p. 41. See Savignoni,
ibid. p. 114.
4 E.g. J.H.S. xxi. fig. 48, p. 170, fig. S3. P- 177-
5 Furtwangler in A.G. Plate II. No. 42. He wrongly took
the copes to be " fischreusen " or fixed nets for catching
fish.
* So Evans calls it. It is a clay seal impression, B.S.A. vii.
fig. 7a, p. 18. I owe the suggestion to my pupil, Mr. J. H.
Sanders. Sec below, pp.128, 207.
or war, we can at least be sure that the processidn is
a religious one. The sistrum was never used for war
music, but only for the purposes of religion,1 and some
gems that represent the tasselled garment that the leader
wears show it in a distinctly religious connection. On
a gem from Zakro ■ it is being carried by a man who does
not wear the loin-cloth, but a baggy kind of knicker-
bockers like the Moslem trousers of to-day ; he is carrying
it away from another man similarly clothed, whom he
presumably has been disrobing ; between them is a
sacred double axe. On a seal from Hagia Triada ' are
two figures in the same knickerbockers, but here we
have the robing, and not the disrobing ; the one man
has taken the cope from the other, and has put it
over his head, but the fact that his arms do not come
through show that it is not properly on, and his knicker-
bockers show beneath it ; he has his back turned to a
pillared building that seems to represent one of the
shrines we find on other gems and frescoes.4 Two of the
copes again are found on a sardonyx gem from the
Heraeum at Argos,5 flanking a bull's head with the double
axe above it. May we not see such a thing, too, in the
" cuirass," 6 worn by the man on the gem from Knossos
who is bending his body forward towards a seated Calf-
Man monster ? The way that the cope stands out from
1 In spite of Virgil, /En. viii. 696. So R. Weil in Rev. Arch.
1904, p. 52.
2 Hogarth in J.H.S. xxii. 1902, Plate VI. No. 6 = fig. 5, p. 78.
Evans in B.S.A. vii. p. 54, thought it was a woman.
3 Halbhcrr in Mon. Ant. xiii. 1903, fig. 35, p. 41. See Savignoni,
ibid. p. 114.
4 E.g. J.H.S. xxi. fig. 48, p. 170, fig. S3. P- 177-
5 Furtwangler in A.G. Plate II. No. 42. He wrongly took
the copes to be " fischreusen " or fixed nets for catching
fish.
* So Evans calls it. It is a clay seal impression, B.S.A. vii.
fig. 7a, p. 18. I owe the suggestion to my pupil, Mr. J. H.
Sanders. Sec below, pp.128, 207.