DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.8755#0092
Knossos Excavations, 1903. 81
The main surface is covered with a reticulated pattern, each reticulation being
filled with horizontal lines in its upper half. The general effect is that of a check
or small plaid. A triple line of decoration edges this ' polonaise.' The hem of it
is thickened, perhaps by ' wadding.' Seen from the back this thick edge seems to
denote a fastening on each hip. The front and side views of the right hip give this
fastening (?) the appearance of a thick roll, suggestive of a snake.
(3) The bodice seems to be made of a plain material, and is cut in similar
fashion to that of the Goddess, with rather longer sleeves. From the top of the
shoulder down the sleeve, and continued at right angles round the arm, runs a line
of lighter coloured decoration, perhaps braiding. Instead of the snake edge to the
jacket, seen on the other figure, a rope-like border runs round the bodice and also
round the sleeves, which terminate just above the elbow. The bodice is cut away
so as to expose both breasts, as with the Goddess, and is similarly laced, though the
braiding, from which the lacing springs, is not, perhaps, quite so rich.
(4) The snake girdle of the Goddess is replaced on this figure by a stiff belt.
The whole costume of both figures seems to consist of garments carefully sewn
and fitted to the shape without any trace of flowing draperies.
The bodies of the figures are closely confined within their bodices, except
where they open in front. The lines adopted are those considered ideal by the
modern corset maker rather than those of the sculptor.
Of exceptional religious interest are certain miniature reproductions of
articles of apparel in the same fine faience. These in some cases were
made for* suspension and had certainly a votive significance.
Among them the votive robes claim the first place. The larger of
those shown in Fig. 58 is, like the other, in two pieces superposed on one
another at the junction of the two curves of the double girdle. Both
halves show a small perforation going right down the centre, evidently for
the wire or string by which the garment was suspended. The ground
colour of the dress is a greenish white, the bands and other designs with
which it is decorated being of a purplish brown. The upper part seems
to represent a simplification of the jacket and bodice seen on the Goddess
and her attendant. The girdle is formed of a double roll which answers
in position to the two twined snakes that encircle the Goddess and which
perhaps symbolise similar serpentine coils. The skirt shows below a
kind of arched canopy containing a clump of flowers, apparently
crocuses, a row of which is also seen along the fringe below. It must,
however, be remarked that though the flowers themselves seem to be of
this native Cretan species—which supplied a favourite motive to the con-
temporary painters of decorative frescoes 1 and vases—the whole grouping
1 The Crocus-gatherer fresco seems to belong to the First Period of the Later Palace.
Crocuses are found on the vases of the same transitional period and were also a favourite subject in
Melos.
G
The main surface is covered with a reticulated pattern, each reticulation being
filled with horizontal lines in its upper half. The general effect is that of a check
or small plaid. A triple line of decoration edges this ' polonaise.' The hem of it
is thickened, perhaps by ' wadding.' Seen from the back this thick edge seems to
denote a fastening on each hip. The front and side views of the right hip give this
fastening (?) the appearance of a thick roll, suggestive of a snake.
(3) The bodice seems to be made of a plain material, and is cut in similar
fashion to that of the Goddess, with rather longer sleeves. From the top of the
shoulder down the sleeve, and continued at right angles round the arm, runs a line
of lighter coloured decoration, perhaps braiding. Instead of the snake edge to the
jacket, seen on the other figure, a rope-like border runs round the bodice and also
round the sleeves, which terminate just above the elbow. The bodice is cut away
so as to expose both breasts, as with the Goddess, and is similarly laced, though the
braiding, from which the lacing springs, is not, perhaps, quite so rich.
(4) The snake girdle of the Goddess is replaced on this figure by a stiff belt.
The whole costume of both figures seems to consist of garments carefully sewn
and fitted to the shape without any trace of flowing draperies.
The bodies of the figures are closely confined within their bodices, except
where they open in front. The lines adopted are those considered ideal by the
modern corset maker rather than those of the sculptor.
Of exceptional religious interest are certain miniature reproductions of
articles of apparel in the same fine faience. These in some cases were
made for* suspension and had certainly a votive significance.
Among them the votive robes claim the first place. The larger of
those shown in Fig. 58 is, like the other, in two pieces superposed on one
another at the junction of the two curves of the double girdle. Both
halves show a small perforation going right down the centre, evidently for
the wire or string by which the garment was suspended. The ground
colour of the dress is a greenish white, the bands and other designs with
which it is decorated being of a purplish brown. The upper part seems
to represent a simplification of the jacket and bodice seen on the Goddess
and her attendant. The girdle is formed of a double roll which answers
in position to the two twined snakes that encircle the Goddess and which
perhaps symbolise similar serpentine coils. The skirt shows below a
kind of arched canopy containing a clump of flowers, apparently
crocuses, a row of which is also seen along the fringe below. It must,
however, be remarked that though the flowers themselves seem to be of
this native Cretan species—which supplied a favourite motive to the con-
temporary painters of decorative frescoes 1 and vases—the whole grouping
1 The Crocus-gatherer fresco seems to belong to the First Period of the Later Palace.
Crocuses are found on the vases of the same transitional period and were also a favourite subject in
Melos.
G