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)

VAPHEIO SCENES ON GEMS

187

figures and details that marks the Minoan gem-engraver's craft1 in the
same way that it does that of the best Hellenic period. Such designs,

Fig. 130. Bull nosing Trail of Cow. Vapheio Cup B.

indeed, are not only epitomes of larger compositions, but are often isolated
excerpts, the original context of which cannot be always supplied. To this,
too, must be added the natural slight variation of type due to the idiosyncrasy
of the individual artist and, in the case of signets, a requisite of his pro-
fession.

The incident of the leaper trying to twist the bull's head, repeated in
several types illustrated below,2 supplies at most an analogy to that in which
the female ' cow-boy' plays so daring a part on the Vapheio Cup A. The
charging bull to the right of that design, though resembling that seen on

1 On the bezels of the gold signet-rings
which, owing to their less bossed surface and
the softer material, gave greater facilities for
minute engraving, a much more pictorial style
is seen. The desire for reproducing entire re-
ligious scenes could there be gratified. These
picturesque compositions welcome such ad-

juncts to the field as flowers and foliage, and
the number of figures is proportionately much
greater than on the engraved gems. On the
' Ring of Nestor ' there are no less than four-
teen (see above, p. 145 seqq.).
2 See below, p. 231, Figs. 1G2-4.