DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.810#0005
vi CONTENTS
PAGE
Libation Table; Recurring ritual formula and lion's head sign ; Painted linear
characters on fragments of wall plaster—their great size; Linear Type of Class A;
Wall inscriptions probably of religious character ; Painted stucco decoration pre-
served on walls of two lower rooms ; The Fresco Deposit; Reconstitution of designs
from stacked fragments; Wild natural scenes—rocks, flowers, and animal forms;
Monkeys, copied from West African Green monkey derived through Egyptian
medium ; The monkey in the papyrus thicket; Parallel with desert belts on Egyptian
paintings in Tomb of Kenamon; On which side was the indebtedness ? Minoan
suggestion in colour tone of Kenam6n paintings ; Minoan features in monkey panel;
Treatment of rock-work—cut stones; Convention of rocks descending from above;
Landscape with Blue Bird—a Roller; Wild roses and Pancratium lily ; Crocus
clumps mechanically repeated ; Width and position of friezes—their frames ; Fresco
depicting jet d'eau—Minoan skill in hydrostatics; Discovery of conduit from spring
of Mavrokolybo; Evidences of greater rainfall—change in flora ; Artistic variations
in details and colouring of flowers—the 'Sacral Ivy'; Marine types less common in
' House of the Frescoes '; The cultured home of a small burgher.
§ 53. Influence of Natural and other Designs of M. M. Ill Wall-
paintings on Late Minoan Ceramic Decoration . . . 468
Artistic continuity unbroken by Catastrophe ; Middle Minoan tradition of wall-
painting maintained in restored buildings ; Reflection of floral types on walls upon
L. M. la pottery; Madonna Lily type; Olive sprays—imitated at Tell-el-Amarna ;
Papyrus, symptom of renewed intimacy with Egypt; Dependence of L. M. I ceramic
types of papyrus on frescoes ; The ' Sacral Ivy' motive—its appearance on wall-
paintings; Origin from canopied papyrus wand (was)—M. M. Ill examples ; Sacral
Ivy spray springs from Minoan ' Tree of the World ' on Ring of Nestor; Comparison
with 'Golden Bough'; It forms a character of Minoan scripts; Cypriote Vol;
' Sacral Ivy-leaf on L. M. I vases ; Ivy-leaf also naturally reproduced; Its divergent
stalks derived from geometrical pattern ; The ' Ogival Canopy' motive—outgrowth
of ' Sacral Ivy'; Palm-Tree motive; Triple group on M. M. II vase; Survival of
pictorial tradition of group of three date-palms on L. M. I b vases and on gold
mouthpiece from Old Paphos (L. M. Ill a) ; Grass-like excrescences of later types
traced to inflorescence of date-palm ; Late Mainland degenerations ; Sea-pieces and
ceramic imitations ; Fully developed at Knossos in M. M. II b—Seal-impression and
fine relief on steatite ' rhyton' ; Marine reliefs taken over in repousse work—
Bronze Minoan amphora from Cyprus and golden bowl from Midea; Metal reliefs
also influence vases in marine style—'Marseilles ewer'—from Egypt—probably of
Knossian fabric ; Knossos a centre of L. M. I b vases in this style ; Marine ceramic
style also existent before close of L. M. I a ; Its progressive degeneration—break up
of composite designs ; L. M. Ill stage.
§ 54. 'The Little Palace' and its Pillar Cult: the Bull's Head
'Rhytons'............513
Discovery of ' Little Palace'; Belongs to beginning of New Era, but with traces of
earlier structures—section of S. facade ; Site and Plan of building ; Entrance system ;
Peristyle and Megaron—magnificent suite of halls; Lobby and main staircase;
High gypsum door-jambs in place of wood—symptom of timber shortage; Crude
bricks from upper stories; Sunken Lustral Area—later used as Fetish Shrine ; Im-
pressions of fluted columns; Stone lamp with quatrefoil pedestal—Egyptian archi-
tectonic type; Clay sealings with religious types; Ante-room and dependencies of
Lustral Area; Deep basement with Pillar Crypts—corresponding Upper Halls;
Pillar Crypt in S.W. Angle; Double-Axe stand and bull's head ' rhyton' from
chamber above; The inlaid ' rhyton ' of black steatite—attachments for horns and
ears; Crystal eye with painted pupil and iris; Rayed medallion over bull's forehead
PAGE
Libation Table; Recurring ritual formula and lion's head sign ; Painted linear
characters on fragments of wall plaster—their great size; Linear Type of Class A;
Wall inscriptions probably of religious character ; Painted stucco decoration pre-
served on walls of two lower rooms ; The Fresco Deposit; Reconstitution of designs
from stacked fragments; Wild natural scenes—rocks, flowers, and animal forms;
Monkeys, copied from West African Green monkey derived through Egyptian
medium ; The monkey in the papyrus thicket; Parallel with desert belts on Egyptian
paintings in Tomb of Kenamon; On which side was the indebtedness ? Minoan
suggestion in colour tone of Kenam6n paintings ; Minoan features in monkey panel;
Treatment of rock-work—cut stones; Convention of rocks descending from above;
Landscape with Blue Bird—a Roller; Wild roses and Pancratium lily ; Crocus
clumps mechanically repeated ; Width and position of friezes—their frames ; Fresco
depicting jet d'eau—Minoan skill in hydrostatics; Discovery of conduit from spring
of Mavrokolybo; Evidences of greater rainfall—change in flora ; Artistic variations
in details and colouring of flowers—the 'Sacral Ivy'; Marine types less common in
' House of the Frescoes '; The cultured home of a small burgher.
§ 53. Influence of Natural and other Designs of M. M. Ill Wall-
paintings on Late Minoan Ceramic Decoration . . . 468
Artistic continuity unbroken by Catastrophe ; Middle Minoan tradition of wall-
painting maintained in restored buildings ; Reflection of floral types on walls upon
L. M. la pottery; Madonna Lily type; Olive sprays—imitated at Tell-el-Amarna ;
Papyrus, symptom of renewed intimacy with Egypt; Dependence of L. M. I ceramic
types of papyrus on frescoes ; The ' Sacral Ivy' motive—its appearance on wall-
paintings; Origin from canopied papyrus wand (was)—M. M. Ill examples ; Sacral
Ivy spray springs from Minoan ' Tree of the World ' on Ring of Nestor; Comparison
with 'Golden Bough'; It forms a character of Minoan scripts; Cypriote Vol;
' Sacral Ivy-leaf on L. M. I vases ; Ivy-leaf also naturally reproduced; Its divergent
stalks derived from geometrical pattern ; The ' Ogival Canopy' motive—outgrowth
of ' Sacral Ivy'; Palm-Tree motive; Triple group on M. M. II vase; Survival of
pictorial tradition of group of three date-palms on L. M. I b vases and on gold
mouthpiece from Old Paphos (L. M. Ill a) ; Grass-like excrescences of later types
traced to inflorescence of date-palm ; Late Mainland degenerations ; Sea-pieces and
ceramic imitations ; Fully developed at Knossos in M. M. II b—Seal-impression and
fine relief on steatite ' rhyton' ; Marine reliefs taken over in repousse work—
Bronze Minoan amphora from Cyprus and golden bowl from Midea; Metal reliefs
also influence vases in marine style—'Marseilles ewer'—from Egypt—probably of
Knossian fabric ; Knossos a centre of L. M. I b vases in this style ; Marine ceramic
style also existent before close of L. M. I a ; Its progressive degeneration—break up
of composite designs ; L. M. Ill stage.
§ 54. 'The Little Palace' and its Pillar Cult: the Bull's Head
'Rhytons'............513
Discovery of ' Little Palace'; Belongs to beginning of New Era, but with traces of
earlier structures—section of S. facade ; Site and Plan of building ; Entrance system ;
Peristyle and Megaron—magnificent suite of halls; Lobby and main staircase;
High gypsum door-jambs in place of wood—symptom of timber shortage; Crude
bricks from upper stories; Sunken Lustral Area—later used as Fetish Shrine ; Im-
pressions of fluted columns; Stone lamp with quatrefoil pedestal—Egyptian archi-
tectonic type; Clay sealings with religious types; Ante-room and dependencies of
Lustral Area; Deep basement with Pillar Crypts—corresponding Upper Halls;
Pillar Crypt in S.W. Angle; Double-Axe stand and bull's head ' rhyton' from
chamber above; The inlaid ' rhyton ' of black steatite—attachments for horns and
ears; Crystal eye with painted pupil and iris; Rayed medallion over bull's forehead