DOI Page / Citation link:
https://doi.org/10.11588/diglit.9804#0122
96 THE PALACE STYLE
was brought up in no great school of art. It is possible
that in the realism that is so marked a feature of the
paintings of the Palace of Akhenaten at Tell-el-Amarna,1
we have an echo of the sack of Knossos. The isolated
Minoans who sought safety in Egypt found there a
vigorous and splendid native art, as we see it in the
tomb of Amenhotep III.'s great queen Tyi, unearthed
only this year at Thebes.! On such an art, which for
centuries had existed side by side with that of Crete,
the newcomers could not impose their own methods and
traditions. While, however, they adapted themselves
to Egyptian methods, they may well have helped on,
perhaps unconsciously, that tendency to realism which
the art of the Early and Middle XVIIIth Dynasty had
already developed from its contact with the /Egean world.3
All that we can assert with confidence is that the great
Palace period probably closed before the reign of Amen-
hotep III. had far advanced from its beginning in 1414
or 1411, and certainly closed before Akhenaten came
to the throne in 1383 or 1380.' It is unfortunate that
a scarab bearing the name of Queen Tyi that comes from
a Minoan building at Hagia Triada was found in sur-
roundings that do not admit of close dating.5 It cannot be
a coincidence, however, that objects bearing either her
name or that of her husband have been found at Mycena;
and at Rhodes more than once in company with objects
that are slightly later than the great Palace style.6 We
1 Breasted, Hist. 1906, fig. 144, p. 376; Petrie, T.A. 1894,
Plates II.-IV.
2 Times, February 8, 1907.
3 Breasted, Hist. fig. 156, p. 418 = British Museum, No. 37977 ;
also ibid. No. 37976. See above, pp. 76, 93.
4 This seems in harmony with Mr. Evans's latest views,
hampered though they still are by his early date for Rckhmara.
See p. 78, n. 1. •
6 Mon. Ant. xiv. 1905, fig. 33, p. 735. It was first used as a
house and later as a tomb.
4 P.T. p. 115 ; Frazer, Pausanias, iii. p. 148.
was brought up in no great school of art. It is possible
that in the realism that is so marked a feature of the
paintings of the Palace of Akhenaten at Tell-el-Amarna,1
we have an echo of the sack of Knossos. The isolated
Minoans who sought safety in Egypt found there a
vigorous and splendid native art, as we see it in the
tomb of Amenhotep III.'s great queen Tyi, unearthed
only this year at Thebes.! On such an art, which for
centuries had existed side by side with that of Crete,
the newcomers could not impose their own methods and
traditions. While, however, they adapted themselves
to Egyptian methods, they may well have helped on,
perhaps unconsciously, that tendency to realism which
the art of the Early and Middle XVIIIth Dynasty had
already developed from its contact with the /Egean world.3
All that we can assert with confidence is that the great
Palace period probably closed before the reign of Amen-
hotep III. had far advanced from its beginning in 1414
or 1411, and certainly closed before Akhenaten came
to the throne in 1383 or 1380.' It is unfortunate that
a scarab bearing the name of Queen Tyi that comes from
a Minoan building at Hagia Triada was found in sur-
roundings that do not admit of close dating.5 It cannot be
a coincidence, however, that objects bearing either her
name or that of her husband have been found at Mycena;
and at Rhodes more than once in company with objects
that are slightly later than the great Palace style.6 We
1 Breasted, Hist. 1906, fig. 144, p. 376; Petrie, T.A. 1894,
Plates II.-IV.
2 Times, February 8, 1907.
3 Breasted, Hist. fig. 156, p. 418 = British Museum, No. 37977 ;
also ibid. No. 37976. See above, pp. 76, 93.
4 This seems in harmony with Mr. Evans's latest views,
hampered though they still are by his early date for Rckhmara.
See p. 78, n. 1. •
6 Mon. Ant. xiv. 1905, fig. 33, p. 735. It was first used as a
house and later as a tomb.
4 P.T. p. 115 ; Frazer, Pausanias, iii. p. 148.