DOI Page / Citation link:
https://doi.org/10.11588/diglit.1117#0298
252 CONVENTIONAL M. M. Ill ROCK-WORK ON MYCENAE
with his head turned towards the lower margin of the field,1 and is
covered by an 8-shaped shield, the traces of conventional patches on
which show that it was covered with bull's hide. The straioht line
down his back may best be interpreted as the border of a long mantle
or perhaps a plaid, which was certainly an article of' Minoan attire
From the typical shield and crested helm we may perhaps infer that
the victory here recorded was gained over some other member of the
conquering race.
The feat of arms here depicted is emphasized below by a lion pursuino-
his quarry. This allusive glorification of the warrior prince ' as a young lion
roaring on his prey'" is curiously suggestive both of the imagery and of the
' parallel' style of Hebrew poetry.
Features Specially interesting features of this relief, in the present connexion, are
M M III t'ie irregularly outlined designs behind and before the chariot scene, in the
' marine' latter case with granular marking- within. These designs might be regarded
style .
taken as in a general way representative of rocky landscape—not very favourable,
°ve,„ it might be thought, for hunting in a chariot! But the more precise com-
on to to t> ' t> 1
stdae. parisons now at our disposal show the real source of the filling-in motive
to which the artist here has had recourse. It is in fact a convention taken
over, without any consideration of appropriateness,3 from what may be called
the ' marine cycle ' of Middle Minoan wall-painting and reliefs. What we
see behind are the conventional rocks of the sea margin 4 and the granular
marking within the cusped outline in front is a further indication of a pebbly
shore. This dual delineation in fact recurs on the remarkable M. M. Ill
burial-jar from Pachyammos, with swimming dolphins in the intervening
space.
In this relief, too, the imperfection of the sculpture of the figured designs
contrasts, as in other cases, with the comparative success attained in the
decorative border. The recurring S-shaped motives here represent one of
the earliest Minoan seal patterns, and their excrescences, suggestive of leaves
and buds, are found in the same connexion.5 They are akin to the tendrils
which otherwise take their place,0 and both types are illustrated by the gold
1 This, too, is also Dr. Kurt Mailer's view, on the right of this stela have a distinctly
Frilhmykenische Reliefs, Jahrb. d. Arch. Inst., marine association. In their completer form
1915,1x287. The crest of the helmet falling they represent coralline or seaweed,
down to the neck is also correctly recognized. 4 Rocks by themselves are also used
- Isaiah xxxi. 4. land scenery, as in the case of the ' Saffron
3 The conventional imitation of rocks, in- Gatherer' Fresco,
deed, is also applied to landscape. But the 5 Cf. P. of M., ii, Pt. I, p. igl, Fig- 106' ' '
double excrescences seen in the version shown a Ibid., p. 196, Fig. 105. Dr. Kurt Mill el,
with his head turned towards the lower margin of the field,1 and is
covered by an 8-shaped shield, the traces of conventional patches on
which show that it was covered with bull's hide. The straioht line
down his back may best be interpreted as the border of a long mantle
or perhaps a plaid, which was certainly an article of' Minoan attire
From the typical shield and crested helm we may perhaps infer that
the victory here recorded was gained over some other member of the
conquering race.
The feat of arms here depicted is emphasized below by a lion pursuino-
his quarry. This allusive glorification of the warrior prince ' as a young lion
roaring on his prey'" is curiously suggestive both of the imagery and of the
' parallel' style of Hebrew poetry.
Features Specially interesting features of this relief, in the present connexion, are
M M III t'ie irregularly outlined designs behind and before the chariot scene, in the
' marine' latter case with granular marking- within. These designs might be regarded
style .
taken as in a general way representative of rocky landscape—not very favourable,
°ve,„ it might be thought, for hunting in a chariot! But the more precise com-
on to to t> ' t> 1
stdae. parisons now at our disposal show the real source of the filling-in motive
to which the artist here has had recourse. It is in fact a convention taken
over, without any consideration of appropriateness,3 from what may be called
the ' marine cycle ' of Middle Minoan wall-painting and reliefs. What we
see behind are the conventional rocks of the sea margin 4 and the granular
marking within the cusped outline in front is a further indication of a pebbly
shore. This dual delineation in fact recurs on the remarkable M. M. Ill
burial-jar from Pachyammos, with swimming dolphins in the intervening
space.
In this relief, too, the imperfection of the sculpture of the figured designs
contrasts, as in other cases, with the comparative success attained in the
decorative border. The recurring S-shaped motives here represent one of
the earliest Minoan seal patterns, and their excrescences, suggestive of leaves
and buds, are found in the same connexion.5 They are akin to the tendrils
which otherwise take their place,0 and both types are illustrated by the gold
1 This, too, is also Dr. Kurt Mailer's view, on the right of this stela have a distinctly
Frilhmykenische Reliefs, Jahrb. d. Arch. Inst., marine association. In their completer form
1915,1x287. The crest of the helmet falling they represent coralline or seaweed,
down to the neck is also correctly recognized. 4 Rocks by themselves are also used
- Isaiah xxxi. 4. land scenery, as in the case of the ' Saffron
3 The conventional imitation of rocks, in- Gatherer' Fresco,
deed, is also applied to landscape. But the 5 Cf. P. of M., ii, Pt. I, p. igl, Fig- 106' ' '
double excrescences seen in the version shown a Ibid., p. 196, Fig. 105. Dr. Kurt Mill el,