DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.7476#0072
56 INFLUENCE OF M.M. Ill 'MARINE' STYLE ON STELA
8-shaped shield, the traces of conventional patches on which show that it
was covered with bull's hide. The straight line down his back may best be
interpreted as the border of a long mantle, or perhaps a plaid, which was
certainly an article of Minoan attire. From the typical shield and crested
helm we may infer that the victory here recorded was gained over some
other member of the conquering race.
The feat of arms here depicted is emphasized below by a lion pursuing
an ibex. This allusive glorification of the warrior prince ' as a young lion
roaring on his prey'1 is curiously suggestive both of the imagery and of the
' parallel' style of Hebrew poetry.
Specially interesting features of this relief, moreover, are the irregularly
outlined designs behind and before the chariot scene, in the latter case with
granular marking within. These designs might be regarded as in a general
way representative of rocky landscape—not very favourable, it might be
thought, for hunting in a chariot! But the more precise comparisons now
at our disposal show the real source of the filling-in motive to which the
artist here has had recourse. It is in fact a convention taken over, without
any consideration of appropriateness,2 from what may be called the 1 marine
cycle ' of Middle Minoan wall-painting and reliefs. What we see behind are
the conventional rocks of the sea margin "■ and the granular marking within
the cusped outline in front is a further indication of a pebbly shore. This
dual delineation in fact recurs on the remarkable M.M. Ill burial-jar from
Pachyammos, with swimming dolphins in the intervening space.
In this relief, too, the imperfection of the sculpture of the figured designs
contrasts, as in other cases, with the comparative success attained in the
decorative border. The recurring S-shaped motives here represent one of
the earliest Minoan seal patterns, and their excrescences, suggestive of leaves
and buds, are found in the same connexion.1 They are akin to the tendrils
which otherwise take their place,5 and both types are illustrated by the gold
1 Isaiah xxxi. 4.
2 The conventional imitation of rocks, in-
deed, is also applied to landscape. But the
double excrescences seen in the version shown
on the right of this stela have a distinctly
marine association. In their completer form
they represent coralline or seaweed.
s Rocks by themselves are also used for
land scenery, as in the case of the ' Saffron-
Gatherer ' fresco.
4 Fig. 16, p. 31, above, and cf. P. of M., ii,
Pt. I, p. 197, Fig. 106, b, c.
6 Ibid., p. 196, Fig. 105. Dr. Kurt Mtiller,
in discussing the decorative designs on this
stela {Jahrbuch d. Arch. Inst, (xxx), 1915,
pp. 287, 288), regards them as due to natura-
listic Minoan influence acting on the old
geometric spiraliform motive of indigenous
(Mainland) origin. In view of the early
sphragistic evidence now before us, however,
it is clear that these motives came over, ready-
made, from Minoan Crete.
8-shaped shield, the traces of conventional patches on which show that it
was covered with bull's hide. The straight line down his back may best be
interpreted as the border of a long mantle, or perhaps a plaid, which was
certainly an article of Minoan attire. From the typical shield and crested
helm we may infer that the victory here recorded was gained over some
other member of the conquering race.
The feat of arms here depicted is emphasized below by a lion pursuing
an ibex. This allusive glorification of the warrior prince ' as a young lion
roaring on his prey'1 is curiously suggestive both of the imagery and of the
' parallel' style of Hebrew poetry.
Specially interesting features of this relief, moreover, are the irregularly
outlined designs behind and before the chariot scene, in the latter case with
granular marking within. These designs might be regarded as in a general
way representative of rocky landscape—not very favourable, it might be
thought, for hunting in a chariot! But the more precise comparisons now
at our disposal show the real source of the filling-in motive to which the
artist here has had recourse. It is in fact a convention taken over, without
any consideration of appropriateness,2 from what may be called the 1 marine
cycle ' of Middle Minoan wall-painting and reliefs. What we see behind are
the conventional rocks of the sea margin "■ and the granular marking within
the cusped outline in front is a further indication of a pebbly shore. This
dual delineation in fact recurs on the remarkable M.M. Ill burial-jar from
Pachyammos, with swimming dolphins in the intervening space.
In this relief, too, the imperfection of the sculpture of the figured designs
contrasts, as in other cases, with the comparative success attained in the
decorative border. The recurring S-shaped motives here represent one of
the earliest Minoan seal patterns, and their excrescences, suggestive of leaves
and buds, are found in the same connexion.1 They are akin to the tendrils
which otherwise take their place,5 and both types are illustrated by the gold
1 Isaiah xxxi. 4.
2 The conventional imitation of rocks, in-
deed, is also applied to landscape. But the
double excrescences seen in the version shown
on the right of this stela have a distinctly
marine association. In their completer form
they represent coralline or seaweed.
s Rocks by themselves are also used for
land scenery, as in the case of the ' Saffron-
Gatherer ' fresco.
4 Fig. 16, p. 31, above, and cf. P. of M., ii,
Pt. I, p. 197, Fig. 106, b, c.
6 Ibid., p. 196, Fig. 105. Dr. Kurt Mtiller,
in discussing the decorative designs on this
stela {Jahrbuch d. Arch. Inst, (xxx), 1915,
pp. 287, 288), regards them as due to natura-
listic Minoan influence acting on the old
geometric spiraliform motive of indigenous
(Mainland) origin. In view of the early
sphragistic evidence now before us, however,
it is clear that these motives came over, ready-
made, from Minoan Crete.