DOI Page / Citation link:
https://doi.org/10.11588/diglit.1117#0371
INFLUENCE OF PALM-TREE AND LILY
325
267).* Where, however, the side sprays do not coil back in this manner,
there is no occasion to go beyond the native reed with its triple shoots.
Enough will at any rate have been said to give an idea of the hetero-
oeneous character of the elements woven together in these grandiose plant
designs of the great ' Palace Style' vases. The true papyrus spray and the
sacral wand or waz,
the indigenous Ma- ~
donna lilies and reeds,
and the frutescent
palm-tree contributed
in varying propor-
tions, according to the
taste of the individual
vase painter, to these
highly composite de-
signs. Sometimes one
model ispredominant,
sometimes another.
An example of
one of these decora-
tive plant forms has
been already given
in the central spray of the remarkable vessel, Fig. 262, a, between two
others showing the canopied 'was'. In this case, as in others, the main
outlines of the design are dependent on the three spikelets of the reed, the
rest being taken from the 'beaded' papyrus type of the fresco (Fig. 264, c).
On the noble 'amphora', Fig. 268 2—also found in relation to the Lily
'North-West Sanctuary Hall'—the lily motive certainly underlies the floral ™^e'
offshoots of the stems on either side of the central plant. The filaments of phora'
the stamens are here linked by double, curving lines, and their anthers have
been transformed into little cordiform leaves. Such excrescences—whether,
as here, like minute buttercup leaves, or ivy-shaped as Fig. 264, G—are
a constantly recurring feature in the floral compositions on these ' Palace
Style' vases. The conventional rock-work on the shoulders of this ' amphora'
shows some relics of the sea-tang originally attached to it.
The outer edge of the rim of this fine vase and of the succeeding
example (Fig. 269) presents the sacred 'adder mark' in its earlier form
with the dot as well as the wave.
Reproduced from P. of .V., ii, Ft. II, p. 496, Fig. 301, a-d. ' In the Candia Museum.
a •
Fig.-265, a, l>, c. Bead Pendants: 'Procession Fresco'.
325
267).* Where, however, the side sprays do not coil back in this manner,
there is no occasion to go beyond the native reed with its triple shoots.
Enough will at any rate have been said to give an idea of the hetero-
oeneous character of the elements woven together in these grandiose plant
designs of the great ' Palace Style' vases. The true papyrus spray and the
sacral wand or waz,
the indigenous Ma- ~
donna lilies and reeds,
and the frutescent
palm-tree contributed
in varying propor-
tions, according to the
taste of the individual
vase painter, to these
highly composite de-
signs. Sometimes one
model ispredominant,
sometimes another.
An example of
one of these decora-
tive plant forms has
been already given
in the central spray of the remarkable vessel, Fig. 262, a, between two
others showing the canopied 'was'. In this case, as in others, the main
outlines of the design are dependent on the three spikelets of the reed, the
rest being taken from the 'beaded' papyrus type of the fresco (Fig. 264, c).
On the noble 'amphora', Fig. 268 2—also found in relation to the Lily
'North-West Sanctuary Hall'—the lily motive certainly underlies the floral ™^e'
offshoots of the stems on either side of the central plant. The filaments of phora'
the stamens are here linked by double, curving lines, and their anthers have
been transformed into little cordiform leaves. Such excrescences—whether,
as here, like minute buttercup leaves, or ivy-shaped as Fig. 264, G—are
a constantly recurring feature in the floral compositions on these ' Palace
Style' vases. The conventional rock-work on the shoulders of this ' amphora'
shows some relics of the sea-tang originally attached to it.
The outer edge of the rim of this fine vase and of the succeeding
example (Fig. 269) presents the sacred 'adder mark' in its earlier form
with the dot as well as the wave.
Reproduced from P. of .V., ii, Ft. II, p. 496, Fig. 301, a-d. ' In the Candia Museum.
a •
Fig.-265, a, l>, c. Bead Pendants: 'Procession Fresco'.