DOI Page / Citation link:
https://doi.org/10.11588/diglit.1117#0368
322 OVERLAPPING OF L..M. 16 BY 'PALACE STYLE'
evidence sufficiently shows that all alike must be classed with the fabrics of
the true ' Palace Style'.
The curiously slender stalks here visible and the ample field bring this
representation into connexion with a small group of ' amphoras ', of which
other examples are described below.1 The reserve visible in the design
of Fig. 262, a, differentiates it from the L. M. I b vessels, where the canopied
waz is in almost all cases part of a continuously woven decorative composi-
tion. The same conclusion is borne out by the conventionalized papyrus
clumps with which these ornamental sprays are associated. This ' amphora'
was, in fact, found in company with other remains of similar vessels on the
borders of the ' North-West Sanctuary Hall'.
Over-
lapping
of L.M. W
with
' Palace
Style':
L. M. I c.
Overlapping of L.M. I b with ' Palace Style': Chronological significance.
The overlapping of characteristic designs of the L. M. II palatial class
with elements, like the murex and crocus pendants, attesting the still living
influence of the L.M. I b style, has an interesting chronological bearing. It
must be inferred in the first place that the ' Palace Style' of Knossos had
already taken shape when the L. M. \b ceramic phase was in its prime.
Since the latter seems already to have taken shape by about 1500 B.C., we
may well carry back the root elements from which at a slightly later date
the ' Palace style' of L. M. 11 was developed to the early part of the
Fifteenth Century B.C. This confirms the conclusion already indicated by
the reflection of the metal technique of the L. M. I a Period and the tran-
sitional M. M. Ill b phase on a series of painted vessels belonging to the
' Palace Style'. This interconnected class may be defined as L. M. II a.
It is evident that in its lower direction the L. M. I b ceramic class had
continued to be produced in a wide Mainland and Aegean area throughout
the period covered by the later products of the palatial style—L. M. II b—
in Knossos itself and the area immediately dominated by it. Outside Crete
the L. M. I b fabrics were by that date beginning to assume the more
degenerate aspect to which the term ' L. M. I c' is here applied.
Composite Plant Motives of ' Palace Style' and their Sources.
Anticipa- The most magnificent creations of this palatial ceramic style were
'Palace unquestionably the highly stylized plant groups, largely based on the con-
Style ' in ventional papyrus.
sprays of Already in the preceding Age, however, some anticipation of the artistic
1 Notably Fig. 271, p. 32S, below, and Fig. 244, p. 309.
evidence sufficiently shows that all alike must be classed with the fabrics of
the true ' Palace Style'.
The curiously slender stalks here visible and the ample field bring this
representation into connexion with a small group of ' amphoras ', of which
other examples are described below.1 The reserve visible in the design
of Fig. 262, a, differentiates it from the L. M. I b vessels, where the canopied
waz is in almost all cases part of a continuously woven decorative composi-
tion. The same conclusion is borne out by the conventionalized papyrus
clumps with which these ornamental sprays are associated. This ' amphora'
was, in fact, found in company with other remains of similar vessels on the
borders of the ' North-West Sanctuary Hall'.
Over-
lapping
of L.M. W
with
' Palace
Style':
L. M. I c.
Overlapping of L.M. I b with ' Palace Style': Chronological significance.
The overlapping of characteristic designs of the L. M. II palatial class
with elements, like the murex and crocus pendants, attesting the still living
influence of the L.M. I b style, has an interesting chronological bearing. It
must be inferred in the first place that the ' Palace Style' of Knossos had
already taken shape when the L. M. \b ceramic phase was in its prime.
Since the latter seems already to have taken shape by about 1500 B.C., we
may well carry back the root elements from which at a slightly later date
the ' Palace style' of L. M. 11 was developed to the early part of the
Fifteenth Century B.C. This confirms the conclusion already indicated by
the reflection of the metal technique of the L. M. I a Period and the tran-
sitional M. M. Ill b phase on a series of painted vessels belonging to the
' Palace Style'. This interconnected class may be defined as L. M. II a.
It is evident that in its lower direction the L. M. I b ceramic class had
continued to be produced in a wide Mainland and Aegean area throughout
the period covered by the later products of the palatial style—L. M. II b—
in Knossos itself and the area immediately dominated by it. Outside Crete
the L. M. I b fabrics were by that date beginning to assume the more
degenerate aspect to which the term ' L. M. I c' is here applied.
Composite Plant Motives of ' Palace Style' and their Sources.
Anticipa- The most magnificent creations of this palatial ceramic style were
'Palace unquestionably the highly stylized plant groups, largely based on the con-
Style ' in ventional papyrus.
sprays of Already in the preceding Age, however, some anticipation of the artistic
1 Notably Fig. 271, p. 32S, below, and Fig. 244, p. 309.