DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.810#0094
FLORAL TYPES ON WALLS REFLECTED ON POTTERY 469
that could be distinctively called Late Minoan evolved itself. Even if we M.M.
had not the earlier example of a rocky landscape decked with flowers, supplied 0f waii-
by the 'Saffron-gatherer' Fresco, the proof that the wall-paintings before us Paint^ns
really represent an unbroken Middle Minoan tradition, is to be found in a series tained in
of floral types, taken from similar scenes, that already appear on M. M. Ill buildings
pottery and other materials before the date of the great catastrophe.
Vetches or wild peas like Fig. 275,1., white on a dark ground, occur on
typical M. M. Ill pottery.1 A plant on a jug from the Temple Repositories,
compared above with a tulip.2 turns out to be a literal copy of a vegetable
form, repeated in a somewhat summary manner on a number of fragments from
the ' House of the Frescoes', but best exemplified in faience reproductions
found in the Temple Repositories. These show pointed oval fruits springing Plant de-
from between the broad variegated leaves and, on the frescoes, alternately m^m. m
painted red and blue. On another jug from the same M.M. Ill deposit vases.
white grasses like Fig. 275, j, are set on the dark ground, a feature so frequent
in dark on light on the succeeding L. M. I a pottery. The Madonna lily
(Fig. 266, c) already forms the decoration of a series of fine jars found in the
Magazine named from them.3 Crocus clumps of the conventional class, such
as are repeated on the large painted fragment (Fig. 271, above), already
appear on the votive robes of faience found with the Snake Goddess.4
But the reflection of the floral designs of the wall-paintings on the Reflection
pottery is even more conspicuous in the earlier phase {a) of the First Late types on
Minoan Period. Some examples of this, taken from painted sherds found waIls
... v upon
on the site of Knossos, are given in Fig. 276. The crocus clumps (0), L. M. \a
Madonna lilies {d, e), and the grass and reeds (f,g)—a very frequent motive ° ery*
—as well as the vetches (/i) are pictorial designs already found on M. M. Ill
vases. The extent to which the reed or ^rass motive was in vosrue on
L. M. la vases at Knossos is shown from the pottery found in the well at
Gypsades (Fig. .°>49, p. 549, below). Other types were doubtless derived from
the plants and flowers of fresco panels similar to the above, but of which we
do not now possess the records, j is possibly a version of the ' honeysuckle '
(Fig. 275, 11). The flowers represented in a are difficult to identify : /seems
to be of a labiate class.5 Of the wild peas or vetches, such as we see them
depicted on the ' Blue Bird' panel of the ' House of the Frescoes', another
very fine example is supplied by the fragments, some of which are restored in
1 See P. of M., i, p. 606, Fig. 445, a, b 4 Op. tit., pp. 506, 507, Fig. 364, a, b.
(Palaikastro). 5 Unless it be a two-stalked ivy-leaf—of the
2 Op. cit., p. 605 ; Fig. 446, p. 606. 'sacral' class—much reduced.
3 Op. cit., pp. 576-8, Figs. 420, 421.
that could be distinctively called Late Minoan evolved itself. Even if we M.M.
had not the earlier example of a rocky landscape decked with flowers, supplied 0f waii-
by the 'Saffron-gatherer' Fresco, the proof that the wall-paintings before us Paint^ns
really represent an unbroken Middle Minoan tradition, is to be found in a series tained in
of floral types, taken from similar scenes, that already appear on M. M. Ill buildings
pottery and other materials before the date of the great catastrophe.
Vetches or wild peas like Fig. 275,1., white on a dark ground, occur on
typical M. M. Ill pottery.1 A plant on a jug from the Temple Repositories,
compared above with a tulip.2 turns out to be a literal copy of a vegetable
form, repeated in a somewhat summary manner on a number of fragments from
the ' House of the Frescoes', but best exemplified in faience reproductions
found in the Temple Repositories. These show pointed oval fruits springing Plant de-
from between the broad variegated leaves and, on the frescoes, alternately m^m. m
painted red and blue. On another jug from the same M.M. Ill deposit vases.
white grasses like Fig. 275, j, are set on the dark ground, a feature so frequent
in dark on light on the succeeding L. M. I a pottery. The Madonna lily
(Fig. 266, c) already forms the decoration of a series of fine jars found in the
Magazine named from them.3 Crocus clumps of the conventional class, such
as are repeated on the large painted fragment (Fig. 271, above), already
appear on the votive robes of faience found with the Snake Goddess.4
But the reflection of the floral designs of the wall-paintings on the Reflection
pottery is even more conspicuous in the earlier phase {a) of the First Late types on
Minoan Period. Some examples of this, taken from painted sherds found waIls
... v upon
on the site of Knossos, are given in Fig. 276. The crocus clumps (0), L. M. \a
Madonna lilies {d, e), and the grass and reeds (f,g)—a very frequent motive ° ery*
—as well as the vetches (/i) are pictorial designs already found on M. M. Ill
vases. The extent to which the reed or ^rass motive was in vosrue on
L. M. la vases at Knossos is shown from the pottery found in the well at
Gypsades (Fig. .°>49, p. 549, below). Other types were doubtless derived from
the plants and flowers of fresco panels similar to the above, but of which we
do not now possess the records, j is possibly a version of the ' honeysuckle '
(Fig. 275, 11). The flowers represented in a are difficult to identify : /seems
to be of a labiate class.5 Of the wild peas or vetches, such as we see them
depicted on the ' Blue Bird' panel of the ' House of the Frescoes', another
very fine example is supplied by the fragments, some of which are restored in
1 See P. of M., i, p. 606, Fig. 445, a, b 4 Op. tit., pp. 506, 507, Fig. 364, a, b.
(Palaikastro). 5 Unless it be a two-stalked ivy-leaf—of the
2 Op. cit., p. 605 ; Fig. 446, p. 606. 'sacral' class—much reduced.
3 Op. cit., pp. 576-8, Figs. 420, 421.