DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.811#0015
CONTENTS xv
PAGE
Presumptions in favour of Anatolian Coast; Slings typical Asianic weapons ; Clubs
also traditional; Archers paralleled by Knossian small relief; Pictorial style, akin to
that of Miniature Frescoes; Anticipations of Scenes on Shields of Achilles and
Herakles; Besieged stronghold traditional in Egypt—example from Fifth Dynasty
Tomb of Anta—its dramatic character ; Middle Empire examples ; Sensational ver-
sions of New Empire; Was there a Minoan reaction on Egypt ? Cretan Miniature
Art supplies link between Early Egypt and Epic tradition.
73. Miniature Painting on Crystal: 'Painting' in Metal-work—
Engrailed Designs on the Blades of Weapons . . . 107
Similar Subjects of Wall-paintings and small reliefs ; Other examples of painting on
the back of Crystal—lens of bull's eye and pommel of dagger; Painted Crystal
plaque from Room of the Throne, presenting bull-catching scene—Microscopic
work; Driven bull barred by rope ; Locks visible of leaping Cow-boy ; Perfection
of Miniaturists' Art; ' Painting in Metals'—Minoan intarsia work ; M. M. II dagger
from Lasithi; The Mycenae daggers—Egyptian adaptations ; ' Nile pieces' on
dagger-blade—description of technique; Hunting-leopards or Chitas ; Egyptian Caffre
cats—trained to catch ducks ; Indigenous Cretan versions—pheasants for water-
fowl ; Influence of Nile scenes on Minoan and Mycenaean Ceramic Art; Also
frequent on intaglios—duality of scenes on dagger-blade—other examples; Also
division into three, as on Vapheio Cups; Dividing up of designs reflects separate
panels of fresco technique ; Lion-hunt on Mycenae dagger; Successive stages in
execution; Restoration of dagger—duality of designs, again marked; An Epic
touch; Original design drawn by eyewitness of lion-hunts; Lions in Classical
Greece; Comparison with African scenes of lion-hunting in modern film (Simba);
Lion bringing down Gazelle; Fragment of painted relief of lion from S.E. Palace
Angle; Intaglio types derived from painted reliefs; Type of hero stabbing lion on
Mycenae bead-seal; Copied by Third-Century Greek engraver—Canea find;
Minoans personally acquainted with lions in every aspect; Lion sacred to Minoan
Goddess; Vapheio dagger-blade with inlaid designs of swimmers ; Flying-fish on
Vapheio blade compared with fresco; Lilies on inlaid blade based on fresco band—
M. M. Ill parallels; Masterpieces of inlaid metal-work recorded in Greek Epic—■
implied knowledge of Minoan originals; Yet the Art itself extinct long before Achaean
invasions.
\ 74. Pictorial Religious Subjects on Signet-rings, reflecting
Miniature Style: the ' Ring-of Nestor'—Glimpse of Minoan
After-World...........134
Pictorial Religious Subjects on Class of Signet-rings—dependence on frescoes;
Frescoes of religious nature ; Mycenae painted tablet with descending God; Descend-
ing deities on Signet-rings ; Landscapes with rustic cult compared with Pompeian
paintings; Sacred Spring and Trees on ring ; Marine subjects ; Descending God on
painted ' larnax'; Offertory scenes on H. Triada Sarcophagus; ' Sarcophagal' Art;
Origin of Minoan signet-ring from bead-seal—primarily designed for suspension;
Mourning scenes on signet from Vapheio Tomb—Dual composition of design;
Ecstatic effect of fruit of Sacred Tree; Funereal significance of body-shield; Parallel
design on Mycenae ring; Similar ritual refreshment of Goddess; Separate scene of
mourning at grave hung with little shield; Association of Goddess with boy-God;
Religious scenes nearer to the Christian than to the Classical Spirit—Syrian and
Anatolian affiliation; Signet-rings made for use in this World and the next—ensured
protection of divinity; The ' Ring of Nestor': circumstances of finding and recovery;
Arrangement of bezel in compartments and zones by trunk and branches of ' Tree of
the World '; Comparison with Yggdrasil and ' Tree of Paradise'; Interpretation
of design; Butterflies and chrysalises symbolical of resurgence; Young couple
PAGE
Presumptions in favour of Anatolian Coast; Slings typical Asianic weapons ; Clubs
also traditional; Archers paralleled by Knossian small relief; Pictorial style, akin to
that of Miniature Frescoes; Anticipations of Scenes on Shields of Achilles and
Herakles; Besieged stronghold traditional in Egypt—example from Fifth Dynasty
Tomb of Anta—its dramatic character ; Middle Empire examples ; Sensational ver-
sions of New Empire; Was there a Minoan reaction on Egypt ? Cretan Miniature
Art supplies link between Early Egypt and Epic tradition.
73. Miniature Painting on Crystal: 'Painting' in Metal-work—
Engrailed Designs on the Blades of Weapons . . . 107
Similar Subjects of Wall-paintings and small reliefs ; Other examples of painting on
the back of Crystal—lens of bull's eye and pommel of dagger; Painted Crystal
plaque from Room of the Throne, presenting bull-catching scene—Microscopic
work; Driven bull barred by rope ; Locks visible of leaping Cow-boy ; Perfection
of Miniaturists' Art; ' Painting in Metals'—Minoan intarsia work ; M. M. II dagger
from Lasithi; The Mycenae daggers—Egyptian adaptations ; ' Nile pieces' on
dagger-blade—description of technique; Hunting-leopards or Chitas ; Egyptian Caffre
cats—trained to catch ducks ; Indigenous Cretan versions—pheasants for water-
fowl ; Influence of Nile scenes on Minoan and Mycenaean Ceramic Art; Also
frequent on intaglios—duality of scenes on dagger-blade—other examples; Also
division into three, as on Vapheio Cups; Dividing up of designs reflects separate
panels of fresco technique ; Lion-hunt on Mycenae dagger; Successive stages in
execution; Restoration of dagger—duality of designs, again marked; An Epic
touch; Original design drawn by eyewitness of lion-hunts; Lions in Classical
Greece; Comparison with African scenes of lion-hunting in modern film (Simba);
Lion bringing down Gazelle; Fragment of painted relief of lion from S.E. Palace
Angle; Intaglio types derived from painted reliefs; Type of hero stabbing lion on
Mycenae bead-seal; Copied by Third-Century Greek engraver—Canea find;
Minoans personally acquainted with lions in every aspect; Lion sacred to Minoan
Goddess; Vapheio dagger-blade with inlaid designs of swimmers ; Flying-fish on
Vapheio blade compared with fresco; Lilies on inlaid blade based on fresco band—
M. M. Ill parallels; Masterpieces of inlaid metal-work recorded in Greek Epic—■
implied knowledge of Minoan originals; Yet the Art itself extinct long before Achaean
invasions.
\ 74. Pictorial Religious Subjects on Signet-rings, reflecting
Miniature Style: the ' Ring-of Nestor'—Glimpse of Minoan
After-World...........134
Pictorial Religious Subjects on Class of Signet-rings—dependence on frescoes;
Frescoes of religious nature ; Mycenae painted tablet with descending God; Descend-
ing deities on Signet-rings ; Landscapes with rustic cult compared with Pompeian
paintings; Sacred Spring and Trees on ring ; Marine subjects ; Descending God on
painted ' larnax'; Offertory scenes on H. Triada Sarcophagus; ' Sarcophagal' Art;
Origin of Minoan signet-ring from bead-seal—primarily designed for suspension;
Mourning scenes on signet from Vapheio Tomb—Dual composition of design;
Ecstatic effect of fruit of Sacred Tree; Funereal significance of body-shield; Parallel
design on Mycenae ring; Similar ritual refreshment of Goddess; Separate scene of
mourning at grave hung with little shield; Association of Goddess with boy-God;
Religious scenes nearer to the Christian than to the Classical Spirit—Syrian and
Anatolian affiliation; Signet-rings made for use in this World and the next—ensured
protection of divinity; The ' Ring of Nestor': circumstances of finding and recovery;
Arrangement of bezel in compartments and zones by trunk and branches of ' Tree of
the World '; Comparison with Yggdrasil and ' Tree of Paradise'; Interpretation
of design; Butterflies and chrysalises symbolical of resurgence; Young couple