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)

50 DEPENDENCE OF GROUPS ON 'LADIES IN BLUE'

to an epoch on the brink of decadence. But conclusive evidence, to which

attention has been already drawn, is now at hand to demonstrate that the

Miniature style in wall-painting was itself fully evolved well before the close

of. the Third Middle Minoan Period. At most it can be said that the

' Temple Fresco' before us marks the beginning of the New Era.

Relation These frescoes do indeed belong to a stage already removed from that

to earlier represented by the class of wall-painting that characterizes the earlier

!L™'es, M. M. Ill phase and of which the ' Ladies in Blue' are the best record.1

in Blue . r

Still, in certain respects, this earlier group, though very different
in scale, supplies a real anticipation of that before us. The figures in
the former case are of life size, but yet in certain features of hair-dressing
and costume present distinct resemblances to the smaller series, and they are
also arranged in groups with their skirted legs drawn in sideways, like so
many of the miniatures. They show, however, a more stable pose and their
outlines are purer and drawn with greater artistic care. Their measured
movements contrast with the vivacious gestures of those beside the little
Temple. One of the seated figures is seen fingering a necklace, a sign that
their conversation—as is.said to be commonly the case with harem ladies at
the present day—may, even under the freer conditions of Minoan women's
life, have largely concerned itself with jewellery and fashions. The subject of
a closely related and contemporary painted relief is a man's hand attaching
a gold necklace to a lady's neck.2
Close We must admit, in any case, the close dependence of the Miniature

depen- groups before us on these larger works of the immediately preceding epoch,
the chief theme of which seems to have been toilet scenes and intimate con-
versation on subjects of female interest. This dependence, indeed, may
help to explain the extreme detachment that these ladies, who occupy the
front seats of the Grand Stand, show from the performances of which they
were clearly supposed to be spectators. Those posted above on the piers
of the Grand Stand and others who appear in a standing position have,

1 P. o/M., i, p. 544 seqq. and Figs. 397, 398. and Figs. 430, 431.
Unfortunately the very imperfect remains of 2 Ibid., i, p. 526, Fig. 383. Except for

this group have further suffered from the two finger-tips this painted relief was entirely

damage done to the Candia Museum in 1926. pulverized by the Earthquake. These debris

Amongst other features, the most beautiful have been reset by Monsieur E. Gillieron, fils,

detail, the hand fingering the necklace {ibid., in a coloured cast already made by him at my

p. 546, Fig. 398), has been destroyed. For request. It does not seem necessary to be-

analogous fragments of figures of the same lieve, as suggested by me, loc. tit., that the

style found in the Earlier Corridor from the robing scene had to do with any special sacral

West Porch see Vol. ii, Pt. II, pp. 680-2 function.