DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.810#0117
492 EVOLUTION OF OGIVAL CANOPY' FROM 'SACRAL IVY'
proves, moreover, that this pattern survived in its original shape into the
early part of L. M. I b.
Traces of The detail (Fig. 297, /), taken from another Kakovatos amphora,
of shows that by this time the ' marine style ' was beginning somewhat to affect
Marine t]ie fjjjy developed ' ogival canopy ' motive. A two-branched coralline sprig
Swasti-
kas de-
rived
from
' Brittle-
stars '.
Fig. 297. Origin of ' Ogival Canopy ' Motive (a, Knossos ; b, Aegina ; c, d, Thebes ;
e, Vapheio ; /, g, Kakovatos).
is here, in fact, introduced within the lower part of the curve belonging to
the original leaf, in place of a record of the papyrus tuft. It is probable,
moreover, that the revolving geometrical ornaments, ' triquetras', and
swastikas continually associated—as in Fig. 297, b and g—with these and
other developments of the 'Sacral Ivy' pattern represent the recurring
'brittle-stars' of the same marine cycle. These were also taken over into
the palm-tree group described above.
This ' ogival canopy ' motive is specially characteristic of the mature L. M.
I b style, and it is interesting to note that it supplies the decoration of a set of
cups that mark the last ceramic stage of the Vapheio Tomb (Fig. 296 a, b).1
Like the 'Sacral Ivy' itself, it was much in vogue at Mycenae and other Minoan
sites of the Morea ; it recurs at Aegina,2 and extends to Thebes 3 and Volo.
1 The form of these cups, doubtless itself of pp. 322-4, Figs. 5 and 6. It was imitated on
metallic origin, is interesting as supplying the native Aeginetan ware {loc. at.. Fig. 5 l>).
prototype of the pedestalled cups of L. M. II. 3 Besides the amphora, Fig. 290' is ('Apx-
■ Jahrbuch d. D. Arch. Inst., xl (1925), 'E</>., 1910, PI. VII, 1), a good example of this
proves, moreover, that this pattern survived in its original shape into the
early part of L. M. I b.
Traces of The detail (Fig. 297, /), taken from another Kakovatos amphora,
of shows that by this time the ' marine style ' was beginning somewhat to affect
Marine t]ie fjjjy developed ' ogival canopy ' motive. A two-branched coralline sprig
Swasti-
kas de-
rived
from
' Brittle-
stars '.
Fig. 297. Origin of ' Ogival Canopy ' Motive (a, Knossos ; b, Aegina ; c, d, Thebes ;
e, Vapheio ; /, g, Kakovatos).
is here, in fact, introduced within the lower part of the curve belonging to
the original leaf, in place of a record of the papyrus tuft. It is probable,
moreover, that the revolving geometrical ornaments, ' triquetras', and
swastikas continually associated—as in Fig. 297, b and g—with these and
other developments of the 'Sacral Ivy' pattern represent the recurring
'brittle-stars' of the same marine cycle. These were also taken over into
the palm-tree group described above.
This ' ogival canopy ' motive is specially characteristic of the mature L. M.
I b style, and it is interesting to note that it supplies the decoration of a set of
cups that mark the last ceramic stage of the Vapheio Tomb (Fig. 296 a, b).1
Like the 'Sacral Ivy' itself, it was much in vogue at Mycenae and other Minoan
sites of the Morea ; it recurs at Aegina,2 and extends to Thebes 3 and Volo.
1 The form of these cups, doubtless itself of pp. 322-4, Figs. 5 and 6. It was imitated on
metallic origin, is interesting as supplying the native Aeginetan ware {loc. at.. Fig. 5 l>).
prototype of the pedestalled cups of L. M. II. 3 Besides the amphora, Fig. 290' is ('Apx-
■ Jahrbuch d. D. Arch. Inst., xl (1925), 'E</>., 1910, PI. VII, 1), a good example of this