Evans, Arthur J.: The Palace of Minos: a comparative account of the successive stages of the early Cretan civilization as illustred by the discoveries at Knossos (Band 3): The great transitional age in the northern and eastern sections of the Palace (London, 1930)

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reunited in death; Chthonic aspect of Minoan Goddess; Her life-giving power;
Lion Guardian of Under-World; Initiatory examination by Griffin as Chief In-
quisitor ; First insight into Minoan eschatology; A true Elysion, in contrast with
Hades; Translation of design into Miniature Fresco ; Reflection of an original
masterpiece in wall-painting representing the After-World.

§ 75. Upper Porticoes of N. Entrance Passage and their Painted
Reliefs of Bull-hunting Scenes : compared with Those of
Vapheio Cups...........158

' Miniature Frescoes' contrasted with neighbouring deposit of painted stucco remains
belonging to North Entrance Passage; Successive stages of this; Good ashlar
masonry of Middle phase ; Fine works of reconstruction in M.-M. Ilia; Proposed
reconstitution of N. Entrance Passage; Approach to Sea Gate from W. and N.;
Traces of inner Gateway ; Safeguarding measures due to considerations of police ;
Lower Pillar-Hall and light-area; Presumed Upper Columnar Hall and Corridor
linking it with Central Court; Portico overlooking W. side of Entrance Passage ;
Loggia with three structural divisions; Painted reliefs of bull-grappling scenes;
Olive-trees in background; Scene laid in Country; Stratum containing painted
fragments; Remains of rock-work foreground; Bovine reliefs; Head of gigantic
bull—its noble aspect; Foot and hoof of bull; Part of woman's leg—ankle ring;
Part of a female thigh ; Parallels from Vapheio Cups; Recurrence of triple division;
Did the Palace friezes supply models elsewhere ? Fragmentary reliefs in Elgin
Collection; Indications of parallel frieze in E. Gallery; Bull's leg found in con-
nexion with it; The Vapheio reliefs; Cup A; Girl grappling bull; The neck-
twisting feat; Cup B— Capture through decoy Cow ; Evidences of Artistic cycle—
on vases and gems; Limitations of intaglio technique; Bull on seal-impressions
nosing trail—as in Cup B ; Lassoing scene on gem; M. M. Ill date of painted
reliefs from N. Entrance Passage; Relatively late date of stratum with bull reliefs ;
Part of reliefs seen in position by Greeks; Olive-tree reliefs at two extremities;
Parallel survival of N.W. Portico; Influence of remains on imagination of Hellenic
settlers.

§ 76. Parallels supplied by Bull-reliefs in Elgin Collection from

the ' Atreus ' Tomb at Mycenae.......192

Two contrasted groups of bull-catching scenes on Vapheio Cups and gems; Origi-
nate in Palace friezes ; Fragmentary reliefs in Elgin Collection—material proves to be
Knossian gypsum ; Found in front of ' Atreus' facade; Supposed lion, a bull;
Bull's head resembles Knossian ; Olive-tree also introduced—from similar bull-
hunting scene; Slab with stationary bull—answers to Vapheio Cup B ; Elgin slabs
from similar contrasted compositions; Probably executed at Mycenae, by Minoan
artist; Friezes, not tympanum reliefs; Were they from side-walls of' Atreus' dromos ?
Possible existence of fore-hall to tomb; Signs of restoration of dromos; Re-used
lintel-block, perhaps of entrance to fore-hall.

§77. The Taureador Frescoes . . ..... . . . 203

' Cow-boy' feats in the open to be distinguished from Circus Sports ; Oriental
associations of the latter—Cappadocian cylinder sealing ; M. M. I a ' rhytons' with
acrobatic figures; Covering on bulls—parallels from early Cylinders and Bull of
Apis; Elements of distinction between the two classes of subject; Theatral sports
in honour of Goddess; Miniature representations associated with shrine—the Ivory
Deposit; Fragment from ' Queen's Megaron'; Early example from beneath
' Kasella' floor; Deposit of ' Taureador Frescoes'—probably belonging to Close of
L. M. I a; Their character and position on wall; Elegance of female performers ;
Use of ' Cestus' round wrist; Tumbler caught by female attendant; Analogous