DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.807#0763
M.M. Ill: WINGED CREATIONS AND ' FLYING GALLOP' 717
Knossos in the area of the Jewel Fresco (Fig. 539, b). In this case again
a rocky ground appears below.
An interesting parallel to this subject is presented by another fine example
of the 'flying gallop' or 'leap' on a contemporary impression found in the
Room of the Seals at Hagia Triada, of which a reproduction is given in
Fig. 539, d. Here is depicted the rapid course
of two wild goats, the male apparently trying
to seize the female while in the act of leaping.
But the scheme exhibited by this latter
example of animal 'marriage by capture'
corresponds in a remarkable manner with
that on another of the Mycenae dagger-blades
of a different purport indeed, in which a lion
is seen springing on a dappled deer—the
spots here being indicated by crosses as on
the Cow of Hathor (Fig. 539 e).x The action
of the pursued animal with his hind-legs flung
upwards as if he were leaping down, his fore-
legs bent under him and his head bent round
on his flank, is practically identical.
That in these cases, as in the design of
the hunted bulls on the Vapheio Cups, the
craftsman, working within the domain of the
minor Arts, drew his ultimate inspiration from
larger models such as painted reliefs on the
Fig. 540. Gold-plated Hyksos Palace walls is probable enough. In the
Dagger-hilt, showing ' Flying • 4-1 1 ui 1 1
LE^p, ' successive groups on the dagger-blades and
the epitomized excerpts on the signets we
may even at times trace the division of these larger continuous compositions
into separate panels. But it certainly would appear that the engravers of
the signet-rings in precious metals, with whom we have here to deal, stood
in still closer connexion with those who executed the designs on the
exquisitely engrailed blades, to which, owing to the conditions of space, the
subjects showing the 'flying gallop' were specially appropriate.
The design repeated above, of the hunted animal in the act of leaping
down with his legs thrown backwards at full stretch must be regarded as
a variant version of the full ' flying gallop' motive in which the fore-legs are
equally extended. That this version of the leap with all four legs at full
1 See above, p. 513.
Parallel
Repre-
senta-
tions.
The
' Flying
Leap'.
Knossos in the area of the Jewel Fresco (Fig. 539, b). In this case again
a rocky ground appears below.
An interesting parallel to this subject is presented by another fine example
of the 'flying gallop' or 'leap' on a contemporary impression found in the
Room of the Seals at Hagia Triada, of which a reproduction is given in
Fig. 539, d. Here is depicted the rapid course
of two wild goats, the male apparently trying
to seize the female while in the act of leaping.
But the scheme exhibited by this latter
example of animal 'marriage by capture'
corresponds in a remarkable manner with
that on another of the Mycenae dagger-blades
of a different purport indeed, in which a lion
is seen springing on a dappled deer—the
spots here being indicated by crosses as on
the Cow of Hathor (Fig. 539 e).x The action
of the pursued animal with his hind-legs flung
upwards as if he were leaping down, his fore-
legs bent under him and his head bent round
on his flank, is practically identical.
That in these cases, as in the design of
the hunted bulls on the Vapheio Cups, the
craftsman, working within the domain of the
minor Arts, drew his ultimate inspiration from
larger models such as painted reliefs on the
Fig. 540. Gold-plated Hyksos Palace walls is probable enough. In the
Dagger-hilt, showing ' Flying • 4-1 1 ui 1 1
LE^p, ' successive groups on the dagger-blades and
the epitomized excerpts on the signets we
may even at times trace the division of these larger continuous compositions
into separate panels. But it certainly would appear that the engravers of
the signet-rings in precious metals, with whom we have here to deal, stood
in still closer connexion with those who executed the designs on the
exquisitely engrailed blades, to which, owing to the conditions of space, the
subjects showing the 'flying gallop' were specially appropriate.
The design repeated above, of the hunted animal in the act of leaping
down with his legs thrown backwards at full stretch must be regarded as
a variant version of the full ' flying gallop' motive in which the fore-legs are
equally extended. That this version of the leap with all four legs at full
1 See above, p. 513.
Parallel
Repre-
senta-
tions.
The
' Flying
Leap'.