DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.811#0014
xiv CONTENTS
PAGE
§70. The Miniature Frescoes: i, The Temple and Grand Stands. 46
The ' Temple Fresco': its technique ; The ' Grand Stand' and Spectators ; Artistic
shorthand in delineation of figures; Great numbers ; The men ; The women, more
carefully represented—'Court Ladies'; Freedom in Art, without decadence; Rela-
tion of figures to earlier 'Ladies in Blue'—close dependence; The Seated Ladies
—Groups A-E; Groups compared with those of the rococo Age, as depicted in the
boxes of theatres, &c.; Separate groups of women in front seats mark of Matri-
archal stage of Society; Dramatic action; Prominence of gesture language—that of
Naples compared ; Gestures in scenes on signet-rings—primitive elements ; Women
segregated in front seats but mixing freely with men below; Isolated fragments with
parallel groups; Window scenes—Cypriote, Assyrian, and Biblical parallels ; Con-
trast between Knossian Ladies and Oriental ' Hierodules '; Presumption that scenes
of the Bull-ring were depicted in lower part of panel; The Central Columnar
Shrine; ' Superposed Pillars' of Grand Stand—parallel examples; Upward taper-
ing posts and their analogies; Theatral significance of single pillars in agonistic
scenes.
§ 71. The Miniature Frescoes : 2, Sacred Grove and Dance . . 66
The ' Sacred Grove and Dance'—Centre of interest to left; Self-absorption of the
female groups ; The Dance—separate performers ; Ritual Dance on Isopata signet;
Ecstatic figures—Sacred Eye in background ; Ecstatic possession—Philistine Prince
at Dor; 'Saul among the Prophets'; Dancer on Vapheio gem ; Fresco of Dancing
Lady in ' Queen's Megaron'—mature L. M. I work ; Terra-cotta group from Palai-
kastro—a ' ring dance'; Central object of the ' Grove and Dance ' religious ;
Aphrodite AriadnS; Theseus and the Delian Crane Dance; Both sexes included in
later ritual dance; Traditional Dances of Cretan peasants—the 'Kastrin6s', &c.;
Secret Dance of the women; Mazy course of Dances; All ' Chain Dances';
'Leaping Dance' (?n;cWos x°P°s)—tumbling performance, as Homeric; 'Leaping
Dance ' of Cretan Apollo Delphinios ; ' Siganos' and choral accompaniment—
Matinadas ; The ' Dancing Ground of Ariadn6 ' at Knossos; Its probable position
and character as illustrated by Fresco; Level site with old olive-trees beneath E.
slope of Palace ; The Magic of the Spot.
§ 72. The Miniature Frescoes : 3, Fragments of Siege Scenes and
Analogies supplied by the Megaron Frieze and Silver
'.Rhyton' of Mycenae: Egyptian Parallels . . . .81
Miniature Frescoes depicting Siege Scenes ; Antiquity of theme in Egypt and Crete;
Warriors hurling javelins on Knossian fragment; Youthful Spearman; Fragment of
building, probably belonging to same subject; ' Sacral horns'—not confined to
Shrines ; Female figures visible in opening beneath entablature; Correspondence of
structure with faience House fronts; The Megaron Frieze at Mycenae—scenes of
assault; Warrior precipitated in front of wall—prototype of Kapaneus ; Analogies
from Egyptian siege scenes; House facade on crystal tablet—obliterated by work-
man ; Section of outer wall on Tylissos fresco; The Silver ' rhyton' with Siege
Scene from Mycenae Shaft Grave ; graphic character of design ; Historic import;
Restoration of 'rhyton' in conical form; Continuous design—land, sea, and con-
ventional reticulation for shallows; The besieged City—its gate and towers—
Minoan character ; Separate fragment with ' superposed pillars' and ' Sacral horns ';
Non-Minoan element, however, among inhabitants; Shields of Minoan type; Shock-
haired barbarians within the walls; Friendly native allies, some arriving by sea;
Shipwreck and sea monster; Hostile barbarians with primitive weapons—stones,
throwing sticks, and clubs; Native ' friendlies' better armed; Minoan element among
defenders—warriors in boat; The relief a historic record; Topographical data;
PAGE
§70. The Miniature Frescoes: i, The Temple and Grand Stands. 46
The ' Temple Fresco': its technique ; The ' Grand Stand' and Spectators ; Artistic
shorthand in delineation of figures; Great numbers ; The men ; The women, more
carefully represented—'Court Ladies'; Freedom in Art, without decadence; Rela-
tion of figures to earlier 'Ladies in Blue'—close dependence; The Seated Ladies
—Groups A-E; Groups compared with those of the rococo Age, as depicted in the
boxes of theatres, &c.; Separate groups of women in front seats mark of Matri-
archal stage of Society; Dramatic action; Prominence of gesture language—that of
Naples compared ; Gestures in scenes on signet-rings—primitive elements ; Women
segregated in front seats but mixing freely with men below; Isolated fragments with
parallel groups; Window scenes—Cypriote, Assyrian, and Biblical parallels ; Con-
trast between Knossian Ladies and Oriental ' Hierodules '; Presumption that scenes
of the Bull-ring were depicted in lower part of panel; The Central Columnar
Shrine; ' Superposed Pillars' of Grand Stand—parallel examples; Upward taper-
ing posts and their analogies; Theatral significance of single pillars in agonistic
scenes.
§ 71. The Miniature Frescoes : 2, Sacred Grove and Dance . . 66
The ' Sacred Grove and Dance'—Centre of interest to left; Self-absorption of the
female groups ; The Dance—separate performers ; Ritual Dance on Isopata signet;
Ecstatic figures—Sacred Eye in background ; Ecstatic possession—Philistine Prince
at Dor; 'Saul among the Prophets'; Dancer on Vapheio gem ; Fresco of Dancing
Lady in ' Queen's Megaron'—mature L. M. I work ; Terra-cotta group from Palai-
kastro—a ' ring dance'; Central object of the ' Grove and Dance ' religious ;
Aphrodite AriadnS; Theseus and the Delian Crane Dance; Both sexes included in
later ritual dance; Traditional Dances of Cretan peasants—the 'Kastrin6s', &c.;
Secret Dance of the women; Mazy course of Dances; All ' Chain Dances';
'Leaping Dance' (?n;cWos x°P°s)—tumbling performance, as Homeric; 'Leaping
Dance ' of Cretan Apollo Delphinios ; ' Siganos' and choral accompaniment—
Matinadas ; The ' Dancing Ground of Ariadn6 ' at Knossos; Its probable position
and character as illustrated by Fresco; Level site with old olive-trees beneath E.
slope of Palace ; The Magic of the Spot.
§ 72. The Miniature Frescoes : 3, Fragments of Siege Scenes and
Analogies supplied by the Megaron Frieze and Silver
'.Rhyton' of Mycenae: Egyptian Parallels . . . .81
Miniature Frescoes depicting Siege Scenes ; Antiquity of theme in Egypt and Crete;
Warriors hurling javelins on Knossian fragment; Youthful Spearman; Fragment of
building, probably belonging to same subject; ' Sacral horns'—not confined to
Shrines ; Female figures visible in opening beneath entablature; Correspondence of
structure with faience House fronts; The Megaron Frieze at Mycenae—scenes of
assault; Warrior precipitated in front of wall—prototype of Kapaneus ; Analogies
from Egyptian siege scenes; House facade on crystal tablet—obliterated by work-
man ; Section of outer wall on Tylissos fresco; The Silver ' rhyton' with Siege
Scene from Mycenae Shaft Grave ; graphic character of design ; Historic import;
Restoration of 'rhyton' in conical form; Continuous design—land, sea, and con-
ventional reticulation for shallows; The besieged City—its gate and towers—
Minoan character ; Separate fragment with ' superposed pillars' and ' Sacral horns ';
Non-Minoan element, however, among inhabitants; Shields of Minoan type; Shock-
haired barbarians within the walls; Friendly native allies, some arriving by sea;
Shipwreck and sea monster; Hostile barbarians with primitive weapons—stones,
throwing sticks, and clubs; Native ' friendlies' better armed; Minoan element among
defenders—warriors in boat; The relief a historic record; Topographical data;