DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.810#0105
480
EVOLUTION OF 'SACRAL IVY' MOTIVE
we have here an intentional assimilation with ivy. Yet the plant that we see
Its origin ]iere was a natural growth of no terrestrial region. The outline of its leaves,
from • • •• -lf-ir
Canopied incurved below and acuminated at their points, was itself derived from
\VandUS a geometrical figure—the C-curve of the Early Minoan decorative system,
(Waz). sometimes seen with coiled ends arching over the waz ox papyrus stalk symbol
(Fig. 287, c, d), which, as we have seen, was the special emblem of Wazet,1
the Delta Goddess, whose haunt was the papyrus thickets of Buto. As
M.M.III
examples
of Cano-
pied
Waz.
rp£Sco
Fig. 287. Comparative Table illustrating the Origin of the 'Sacral Ivy'.
a Snake Goddess—presumably of Libyan origin—she may almost be regarded
as a double of the Goddess of Minoan Crete in her chthonic aspect, while, in
Egypt, she was assimilated with the Mother Goddess Hathor. The persistent
repetition of this symbol in Minoan Art from the beginning of the Middle
Minoan onwards can hardly have been without a definite religious
significance.
In Fig. 287, e, from a Twelfth Dynasty scarab,2 we already see it fitted
with the arching canopy, which finds a parallel on the more or less con-
temporary M. M. I seal (Fig. 287,/). In the closing Middle Minoan Period
this conventional type becomes part of an ornamental frieze, or border, of con-
stant recurrence. It is well dated by the bronze cup of Vapheio shape
from Tomb XII at Mochlos (Fig. 288, c), found with M. M. Ill pottery.11
Decorative bands with this design in relief are seen winding up the pedestal
of the beautiful lamp of purple gypsum from the early South-East House
(Fig. 288, a),* which also lies within the M. M. Ill Period. Of special
1 P. of A/., i, pp. 509, 510.
2 See, too, P. of M., i, p. 201, Fig. 150, b.
Another specimen has now been discovered in
the M. M. II deposit of Tomb XVII at Mavro
Spelio (see p. 557, below).
3 Seager, Mochlos, p. 62, XII /, and Fig. 31.
Mr. Seager remarks : ' This cup is a very good
specimen of M. M. Ill metal-work.'
4 See P. o/M., i, p. 345, Fig. 249.
EVOLUTION OF 'SACRAL IVY' MOTIVE
we have here an intentional assimilation with ivy. Yet the plant that we see
Its origin ]iere was a natural growth of no terrestrial region. The outline of its leaves,
from • • •• -lf-ir
Canopied incurved below and acuminated at their points, was itself derived from
\VandUS a geometrical figure—the C-curve of the Early Minoan decorative system,
(Waz). sometimes seen with coiled ends arching over the waz ox papyrus stalk symbol
(Fig. 287, c, d), which, as we have seen, was the special emblem of Wazet,1
the Delta Goddess, whose haunt was the papyrus thickets of Buto. As
M.M.III
examples
of Cano-
pied
Waz.
rp£Sco
Fig. 287. Comparative Table illustrating the Origin of the 'Sacral Ivy'.
a Snake Goddess—presumably of Libyan origin—she may almost be regarded
as a double of the Goddess of Minoan Crete in her chthonic aspect, while, in
Egypt, she was assimilated with the Mother Goddess Hathor. The persistent
repetition of this symbol in Minoan Art from the beginning of the Middle
Minoan onwards can hardly have been without a definite religious
significance.
In Fig. 287, e, from a Twelfth Dynasty scarab,2 we already see it fitted
with the arching canopy, which finds a parallel on the more or less con-
temporary M. M. I seal (Fig. 287,/). In the closing Middle Minoan Period
this conventional type becomes part of an ornamental frieze, or border, of con-
stant recurrence. It is well dated by the bronze cup of Vapheio shape
from Tomb XII at Mochlos (Fig. 288, c), found with M. M. Ill pottery.11
Decorative bands with this design in relief are seen winding up the pedestal
of the beautiful lamp of purple gypsum from the early South-East House
(Fig. 288, a),* which also lies within the M. M. Ill Period. Of special
1 P. of A/., i, pp. 509, 510.
2 See, too, P. of M., i, p. 201, Fig. 150, b.
Another specimen has now been discovered in
the M. M. II deposit of Tomb XVII at Mavro
Spelio (see p. 557, below).
3 Seager, Mochlos, p. 62, XII /, and Fig. 31.
Mr. Seager remarks : ' This cup is a very good
specimen of M. M. Ill metal-work.'
4 See P. o/M., i, p. 345, Fig. 249.