DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.811#0101
THE SACRED GROVE AND DANCE 67
We see here what seems to be a sacred grove of olive-trees 1 withiiv The spec-
a walled enclosure containing crowds of spectators of both sexes. The aor$'
numbers in this section of the fresco—apparently about a third of the
whole—may be reckoned as 350 men and 120 women. The men are
naked except for their buskined feet, girdles, and loin-cloths. They wear
collars round their necks, and long locks of hair stream down under their
armpits—while in place of the double crest seen above the heads in the
companion piece, they show a single curl above the forehead. In this case,
full-length figures of many of the male figures are given, the distinction
between men and boys being clearly indicated in the group on the right by
their respective statures. They are standing in serried crowds, and—as is also
the case in the Temple Fresco—those of the top rank are raising their hands
in excited gesticulation and pointing towards some spectacle on the left.
On this, as in the companion piece described above, the women occupy Self ab-
the front places, and the same psychological distinction is drawn by the 0° femate
artist between the two sexes. While the men are for the most part entirely groups-
absorbed in the performance and their eyes drawn one way, ' these ladies',
as already remarked, seem to have been as often as not taken up with their
own affairs and to be exchanging confidential remarks with one another.
The special feature which distinguishes this representation from that with The
the Grand Stands is that in this case part at least has been preserved of the separate
performance for which the spectators are gathered. In the open space in Per-
1 1 11 ■ • 1 formers.
front, beyond the isodomic temenos wall and bordered by another diagonal cere.
line of similar walling- on the right, groups of women on a blue ground are monial.
t> & > & r e>^ dance in
seen performing what seems to be a ceremonial dance. Their hair streams walled en-
out behind them in separate tresses, in a manner that in some cases is clearly
indicative of a quick rhythmic movement, and the attitude and arrangement
of the figures as far as it can be reconstructed is certainly suggestive of
a sinuous meandering course—such as is associated with the traditional
Knossian dance in Ariadne's honour. Their dress reproduces the fashion-
able cut of the ladies of the Temple scene. They wear short-sleeved jackets
open at the bosom, diaphanous chemises, and flounced gowns, the prevailing
saffron hue of which had perhaps religious associations.2 In nearly all cases
they have one hand raised or held out before them, as in the act of adora-
tion, towards some sacred personage or object on the left. Unfortunately
the central point of interest in this direction to which the spectators turn is
wholly lost. Some enlightenment as to its character may, however, be drawn
1 Part of two trees found. A third is added in the scheme of restoration.
2 See Vol. i, p. 506.
F 2
We see here what seems to be a sacred grove of olive-trees 1 withiiv The spec-
a walled enclosure containing crowds of spectators of both sexes. The aor$'
numbers in this section of the fresco—apparently about a third of the
whole—may be reckoned as 350 men and 120 women. The men are
naked except for their buskined feet, girdles, and loin-cloths. They wear
collars round their necks, and long locks of hair stream down under their
armpits—while in place of the double crest seen above the heads in the
companion piece, they show a single curl above the forehead. In this case,
full-length figures of many of the male figures are given, the distinction
between men and boys being clearly indicated in the group on the right by
their respective statures. They are standing in serried crowds, and—as is also
the case in the Temple Fresco—those of the top rank are raising their hands
in excited gesticulation and pointing towards some spectacle on the left.
On this, as in the companion piece described above, the women occupy Self ab-
the front places, and the same psychological distinction is drawn by the 0° femate
artist between the two sexes. While the men are for the most part entirely groups-
absorbed in the performance and their eyes drawn one way, ' these ladies',
as already remarked, seem to have been as often as not taken up with their
own affairs and to be exchanging confidential remarks with one another.
The special feature which distinguishes this representation from that with The
the Grand Stands is that in this case part at least has been preserved of the separate
performance for which the spectators are gathered. In the open space in Per-
1 1 11 ■ • 1 formers.
front, beyond the isodomic temenos wall and bordered by another diagonal cere.
line of similar walling- on the right, groups of women on a blue ground are monial.
t> & > & r e>^ dance in
seen performing what seems to be a ceremonial dance. Their hair streams walled en-
out behind them in separate tresses, in a manner that in some cases is clearly
indicative of a quick rhythmic movement, and the attitude and arrangement
of the figures as far as it can be reconstructed is certainly suggestive of
a sinuous meandering course—such as is associated with the traditional
Knossian dance in Ariadne's honour. Their dress reproduces the fashion-
able cut of the ladies of the Temple scene. They wear short-sleeved jackets
open at the bosom, diaphanous chemises, and flounced gowns, the prevailing
saffron hue of which had perhaps religious associations.2 In nearly all cases
they have one hand raised or held out before them, as in the act of adora-
tion, towards some sacred personage or object on the left. Unfortunately
the central point of interest in this direction to which the spectators turn is
wholly lost. Some enlightenment as to its character may, however, be drawn
1 Part of two trees found. A third is added in the scheme of restoration.
2 See Vol. i, p. 506.
F 2