DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.811#0249
206 FEATURES OF TWO CLASSES OF SPORTS
more, as has already been pointed out, this method of dressing up the animal
survived into the ' New Era'. On a bull' rhyton ' found by the same explorer
at Pseira in association with L. M. la pottery, Fig. 139, b,1 the bull is seen
wearing a net 'jacket', painted either in an orange red or purple on a chalky
white slip—a reminiscence of polychrome traditions.
It is interesting to observe that here, too, we find a parallel usage in
connexion with the sacred bulls seen on early Cappadocian cylinders of the
class referred to above (Figs. 140, a, 6).2 On these the bull, his body either
entirely covered, or with bands on his neck and rump, stands on an altar—
in one case apparently within a shrine. The God, distinguished by celestial
emblems, is seated in front of the sacred animal. These comparisons derive
special interest from the fact that they belong to the second half of the
Third Millennium B.C., thus approaching the date, approximately fixed as
c, 2100 B.C., of the beginning of the First Middle Minoan Period, to which
we must ascribe the earlier series of the Cretan bull ' rhytons'. We may
trace here, therefore, an intermediate link between them and their still more
remote Sumerian prototypes of a thousand years earlier.
It is to be noted that the bull of Apis also appears with similar decoration
in the form of a collar and what looks like a variegated cloth over his
back, together with wings of the Sacred Vulture. But these Nilotic
representations belong to a much later date.3
Elements In individual cases, especially in excerpts such as we see in the field of
t]-on ' intaglios and detached from the surroundings, it is often difficult to determine
between to which class a bull-grappling episode should be referred. The performers
classes, themselves, of eithersex, belonged to the same' Cow-boy' class, and many of the
feats exhibited might as well have occurred in the open as in an enclosed arena.
In certain respects, however, the distinction between the two classes is clear.
Thus the rope obstacles between trees, the trees themselves and the rocky
landscape, the lassoing scenes, probably, and those portraying stationary or
walking animals belong rather to the country-side. The skilled feats of
the actors in these scenes are brought to bear on the practical needs of cattle-
breeding and might be paralleled at the present day on many ranches of
the ' Wild West'. But, apart from such episodes as maybe regarded as
more or less utilitarian in their nature, there must be recognized another
1 Pseira, pp. 22, 23, Fig. 7. to the ceremonial coverings of the sacred bulls.
2 From Dr. Ludolf Marten's comprehensive (see p. no, Figs. 29, 30).
article Der Stier in Cult und Mythischen Bild s See, for instance, the bronze figure of
{Jahrkd.d.Arck.Inst.,-x\\i\,ii)2%). Dr.Matten Apis, Wilkinson, Anc. Egyptians, 1878 ed.,
was unaware of the remarkable Cretan parallels vol. iii, p. 88, Fig. 1.
more, as has already been pointed out, this method of dressing up the animal
survived into the ' New Era'. On a bull' rhyton ' found by the same explorer
at Pseira in association with L. M. la pottery, Fig. 139, b,1 the bull is seen
wearing a net 'jacket', painted either in an orange red or purple on a chalky
white slip—a reminiscence of polychrome traditions.
It is interesting to observe that here, too, we find a parallel usage in
connexion with the sacred bulls seen on early Cappadocian cylinders of the
class referred to above (Figs. 140, a, 6).2 On these the bull, his body either
entirely covered, or with bands on his neck and rump, stands on an altar—
in one case apparently within a shrine. The God, distinguished by celestial
emblems, is seated in front of the sacred animal. These comparisons derive
special interest from the fact that they belong to the second half of the
Third Millennium B.C., thus approaching the date, approximately fixed as
c, 2100 B.C., of the beginning of the First Middle Minoan Period, to which
we must ascribe the earlier series of the Cretan bull ' rhytons'. We may
trace here, therefore, an intermediate link between them and their still more
remote Sumerian prototypes of a thousand years earlier.
It is to be noted that the bull of Apis also appears with similar decoration
in the form of a collar and what looks like a variegated cloth over his
back, together with wings of the Sacred Vulture. But these Nilotic
representations belong to a much later date.3
Elements In individual cases, especially in excerpts such as we see in the field of
t]-on ' intaglios and detached from the surroundings, it is often difficult to determine
between to which class a bull-grappling episode should be referred. The performers
classes, themselves, of eithersex, belonged to the same' Cow-boy' class, and many of the
feats exhibited might as well have occurred in the open as in an enclosed arena.
In certain respects, however, the distinction between the two classes is clear.
Thus the rope obstacles between trees, the trees themselves and the rocky
landscape, the lassoing scenes, probably, and those portraying stationary or
walking animals belong rather to the country-side. The skilled feats of
the actors in these scenes are brought to bear on the practical needs of cattle-
breeding and might be paralleled at the present day on many ranches of
the ' Wild West'. But, apart from such episodes as maybe regarded as
more or less utilitarian in their nature, there must be recognized another
1 Pseira, pp. 22, 23, Fig. 7. to the ceremonial coverings of the sacred bulls.
2 From Dr. Ludolf Marten's comprehensive (see p. no, Figs. 29, 30).
article Der Stier in Cult und Mythischen Bild s See, for instance, the bronze figure of
{Jahrkd.d.Arck.Inst.,-x\\i\,ii)2%). Dr.Matten Apis, Wilkinson, Anc. Egyptians, 1878 ed.,
was unaware of the remarkable Cretan parallels vol. iii, p. 88, Fig. 1.