DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.807#0739
M. M. Ill: SEAL TYPES AND GREATER ART 693
and arched shields, are still of typically Cretan form. The episode in fact
has transferred itself from the arena to become an illustration of true epic.
Of the crowded spectators on the Grand Stands of the Palace arena at
Knossos, we have already had a glimpse, and a fuller illustration will be
given of them in connexion with the Miniature Frescoes of the ensuing epoch.
Of the spectacles themselves—the acrobatic performances with bulls—illus-
trations have come down to us from many sides, and from the vase reliefs and
intaglios we see something of the contests between man and man, not only
with the fists but with actual weapons. To the excitement of the Spanish arena
was added the even more poignant human thrills of the Roman amphitheatre,
and in a Society wrapped up in such fierce sports it can easily be imagined how
the ladies of Knossos, who occupied the front seats at these shows, leaned
forward in suspense over the fate of wounded heroes of the ring or applauded
the prowess of fellow champions, the Seconds in these well-matched groups
of antagonists, who strove to defeat and avenge their fallen comrades.
In the Minoan world of that day the victors in such martial sports must
have been at least as famous as the noted toreros of Spanish Corridas. Such
scenes moreover being thus artificially grouped and separated off by this
theatral arrangement of the ' duello ' it was comparatively easy to present an
artistic record of these feats, which were by this means set in relief and brought
home to thousands. But the melee of actual war was very different, and Ultimate
thus it seems to have come to pass that episodes already stereotyped in 0fMinoan
these spectacles of the arena were adapted to celebrate the prowess of theatrai
. . ... episodes
warrior chiefs, as on the Mycenae signet-ring. The characteristic feats of such on epic
contests, perpetuated by these artistic records, were in due course reflected in imagery-
the word-paintings of the bards, whose lays in turn preserved their tradition
through the dark ages when their pictorial presentation was no longer possible.
Thus when at a much later date these incidents of combat reappear,
assimilated as to their essential outlines in the Homeric poems, we may
haply trace exploits of heroes such as the Telamonian Ajax or Patroklos
far back to the darlings of the Minoan arena.1
o
1 I may refer to my remarks [J. II. S., xxxii, perpetuated in a Greek form, just as those 01
I9i2,p. 291 seqq.)on the illustrations of epic epi- the Eteocretans—such as we know them from
sodes supplied by Minoan and Mycenaean Art. Diodoros or from the recently discovered Dik-
It is there assumed that on the Mainland side taean ' Hymn of the Kouretes ' (B. S. A. xv,
there was a survival of the older ethnic element p. 340 seqq.)—were transferred to the Greek-
such as we know to have been the case in Crete. speaking population of Crete. Both as recorded
This would have passed (like the other) through by Diodoros (v. 70-80) and as voiced in the
a bilingual stage before becoming definitely Hymn, the traditional objects of the native
Hellenized. In this way traditions and even religion, in the island, were Minoan in
lays of the old stock would have been ultimately character.
and arched shields, are still of typically Cretan form. The episode in fact
has transferred itself from the arena to become an illustration of true epic.
Of the crowded spectators on the Grand Stands of the Palace arena at
Knossos, we have already had a glimpse, and a fuller illustration will be
given of them in connexion with the Miniature Frescoes of the ensuing epoch.
Of the spectacles themselves—the acrobatic performances with bulls—illus-
trations have come down to us from many sides, and from the vase reliefs and
intaglios we see something of the contests between man and man, not only
with the fists but with actual weapons. To the excitement of the Spanish arena
was added the even more poignant human thrills of the Roman amphitheatre,
and in a Society wrapped up in such fierce sports it can easily be imagined how
the ladies of Knossos, who occupied the front seats at these shows, leaned
forward in suspense over the fate of wounded heroes of the ring or applauded
the prowess of fellow champions, the Seconds in these well-matched groups
of antagonists, who strove to defeat and avenge their fallen comrades.
In the Minoan world of that day the victors in such martial sports must
have been at least as famous as the noted toreros of Spanish Corridas. Such
scenes moreover being thus artificially grouped and separated off by this
theatral arrangement of the ' duello ' it was comparatively easy to present an
artistic record of these feats, which were by this means set in relief and brought
home to thousands. But the melee of actual war was very different, and Ultimate
thus it seems to have come to pass that episodes already stereotyped in 0fMinoan
these spectacles of the arena were adapted to celebrate the prowess of theatrai
. . ... episodes
warrior chiefs, as on the Mycenae signet-ring. The characteristic feats of such on epic
contests, perpetuated by these artistic records, were in due course reflected in imagery-
the word-paintings of the bards, whose lays in turn preserved their tradition
through the dark ages when their pictorial presentation was no longer possible.
Thus when at a much later date these incidents of combat reappear,
assimilated as to their essential outlines in the Homeric poems, we may
haply trace exploits of heroes such as the Telamonian Ajax or Patroklos
far back to the darlings of the Minoan arena.1
o
1 I may refer to my remarks [J. II. S., xxxii, perpetuated in a Greek form, just as those 01
I9i2,p. 291 seqq.)on the illustrations of epic epi- the Eteocretans—such as we know them from
sodes supplied by Minoan and Mycenaean Art. Diodoros or from the recently discovered Dik-
It is there assumed that on the Mainland side taean ' Hymn of the Kouretes ' (B. S. A. xv,
there was a survival of the older ethnic element p. 340 seqq.)—were transferred to the Greek-
such as we know to have been the case in Crete. speaking population of Crete. Both as recorded
This would have passed (like the other) through by Diodoros (v. 70-80) and as voiced in the
a bilingual stage before becoming definitely Hymn, the traditional objects of the native
Hellenized. In this way traditions and even religion, in the island, were Minoan in
lays of the old stock would have been ultimately character.