DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.807#0248
M.M. II: CONSOLIDATION OF KNOSSIAN PALACE 221
mouthed ' and ' bridge-spouted' jar in shape and decorative style parallel
with specimens found in the same area,1 and representing the ceramic fashion
—M. M. 11 b—in vogue at the time of the final catastrophe of the Early Palace.
The stratigraphic evidence derived from the Basements of the Loom
Weights, which is of first importance for the history of the closing phase of
the present Period, will be found illustrated below in its ceramic and other
aspects. One very interesting discovery here made2 has, however, a
special pertinence in the present connexion since it gives a clear insight into Miniature
the salient features of a Knossian sanctuary of this Period and its appur- cottr"
tenances. This consists of the remains of a miniature pillar shrine and Shrine,
altars, together with a portable seat, in painted terra-cotta (Fig. 166).
The exterior of the structures here represented shows painted imitation of
chequer-work masonry—recalling that of the Shrine in the Miniature
Fresco 3—and vertical and horizontal lines of disks which may be regarded
as reproducing the painted stucco imitation of the ends of round beams
and cross-bars, of constructive use. The original surface of the terra-
cotta, which shades off from buff to pale brick red, had been coloured black,
white, and red, according to the regular polychrome tradition of the contem-
porary pottery. We see window slits resembling some of those of the faience
' house inlays to be described in the succeeding Section, but placed
together here in groups of three or four instead of two. The altars and
shrines, as is usually the case in later Minoan examples, were surmounted by
a succession of ' sacral horns'. In Fig. 166, h, is shown a base which seems to
have served as an altar, of a very typical Minoan and Mycenaean form Altar and
with incurving sides, such for instance as is seen—with sacral horns above Ho,ns-
and trees behind—on a Jentoid intaglio from the Idaean Cave 4 with a votary
before it blowing a triton or conch-shell (Fig. 167). It is interesting to Conch-
observe that amongst the remains of the present sanctuary were found
fragments of miniature triton-shells of painted terra-cotta with red and white pets,
bands, pointing to the same ritual use (Fig. 168). In the early Sacellum
at Phaestos, as already noted, a specimen of a conch-shell trumpet itself
came to light and another occurred in a little shrine to the S.E. of the
Knossian Palace.5
1 See below, p. 255. Fig. 22). A similar base constantly recurs as
2 Knossos, Report, 1902, pp. 28-32. a support for heraldic pairs of sacred animals—
3 See Vol. II. lions and griffins—and is seen within the door-
4 The gem from the Idaean Cave is a crystal way of a shrine on a Zakro sealing (see below,
lentoid (Myc. Tree and Pillar Cult, p. 43 ; p. 308, Fig. 227, c).
Mariani, Antichita Cretest, Mon. Ant., vi, p. 178, 5 See below, p. 580.
Fig. 12; Furtwangler, Ant. Gemm., iii, p. 47,
mouthed ' and ' bridge-spouted' jar in shape and decorative style parallel
with specimens found in the same area,1 and representing the ceramic fashion
—M. M. 11 b—in vogue at the time of the final catastrophe of the Early Palace.
The stratigraphic evidence derived from the Basements of the Loom
Weights, which is of first importance for the history of the closing phase of
the present Period, will be found illustrated below in its ceramic and other
aspects. One very interesting discovery here made2 has, however, a
special pertinence in the present connexion since it gives a clear insight into Miniature
the salient features of a Knossian sanctuary of this Period and its appur- cottr"
tenances. This consists of the remains of a miniature pillar shrine and Shrine,
altars, together with a portable seat, in painted terra-cotta (Fig. 166).
The exterior of the structures here represented shows painted imitation of
chequer-work masonry—recalling that of the Shrine in the Miniature
Fresco 3—and vertical and horizontal lines of disks which may be regarded
as reproducing the painted stucco imitation of the ends of round beams
and cross-bars, of constructive use. The original surface of the terra-
cotta, which shades off from buff to pale brick red, had been coloured black,
white, and red, according to the regular polychrome tradition of the contem-
porary pottery. We see window slits resembling some of those of the faience
' house inlays to be described in the succeeding Section, but placed
together here in groups of three or four instead of two. The altars and
shrines, as is usually the case in later Minoan examples, were surmounted by
a succession of ' sacral horns'. In Fig. 166, h, is shown a base which seems to
have served as an altar, of a very typical Minoan and Mycenaean form Altar and
with incurving sides, such for instance as is seen—with sacral horns above Ho,ns-
and trees behind—on a Jentoid intaglio from the Idaean Cave 4 with a votary
before it blowing a triton or conch-shell (Fig. 167). It is interesting to Conch-
observe that amongst the remains of the present sanctuary were found
fragments of miniature triton-shells of painted terra-cotta with red and white pets,
bands, pointing to the same ritual use (Fig. 168). In the early Sacellum
at Phaestos, as already noted, a specimen of a conch-shell trumpet itself
came to light and another occurred in a little shrine to the S.E. of the
Knossian Palace.5
1 See below, p. 255. Fig. 22). A similar base constantly recurs as
2 Knossos, Report, 1902, pp. 28-32. a support for heraldic pairs of sacred animals—
3 See Vol. II. lions and griffins—and is seen within the door-
4 The gem from the Idaean Cave is a crystal way of a shrine on a Zakro sealing (see below,
lentoid (Myc. Tree and Pillar Cult, p. 43 ; p. 308, Fig. 227, c).
Mariani, Antichita Cretest, Mon. Ant., vi, p. 178, 5 See below, p. 580.
Fig. 12; Furtwangler, Ant. Gemm., iii, p. 47,