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Evans, Arthur J.
Scripta minoa: the written documents of minoan Crete with special reference to the archives of Knossos (Band 1): The hieroglyphic and primitive linear classes — Oxford, 1909

DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.806#0206

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SCRIPTA MINOA

c

29. a, P. 64 a; b and c, P. 101 a and e.

Lyre. This occurs in conjunction with y on the fine signet impression P. 64 a.
On the seal-impression it shows eight strings, but the representation is too small to
enable us to draw any absolute conclusion as to the number on the instrument itself.

A more advanced form of lyre is seen in the hands of a male performer on the
painted Sarcophagus of Hagia Triada1 (Late Minoan II). In this case there are
seven strings; in other words, it represents the double of the primitive tetrachord—
■ the Greek tetrachords when succeeding one another having a tone in common.3 A
more summary figure of the same instrument is seen on a fragment of pottery of the
latest Palace period found at Knossos.

The above pictographic sign shows that this iully developed form of lyre was
already known in Crete during the Middle Minoan Age—in other words, at least
a thousand years before the date of the reputed innovation of Terpander, who, accord-
ing to Greek tradition, first increased the number of the strings from four to seven.

" i c ' d

30. a, P. 26d; b, P. 23b; c, P. 3id; d, P. 25d; e, P. 18c; / P. 3od; g,
P. 64b (cf. P. 113a, &c); h, P. 75b; k, P. 105b; /, P. 117a; m, P. 65b; n,
P. ma, &c.

Pronged instrument of uncertain use. It is of frequent appearance both on the
seals and tablets. It forms the central sign in a constantly recurring formula of the
signets (P. 18 c, 20 c, 23 b, 25 a, 30 d), which is probably an official title (see below,
§ 15). The two other signs with which it is associated in this formula are

1 R. Paribeni, II Sarcofago dipinlo di Haghia Triada ' Paribeni,he.at.{cf.Gevaert,ff«/.et thioriedelamusique
(Mon. Anl.,1908 [XIX], PI. I and p. 37). dans I Antiquity I, p. 87).
 
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