DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1118#0408
758 THE MINOAN SCRIPT IN CYPRUS
based on the ' whip' of the later Palace script ^J. There follows what see
to be a very rude sketch of a bull (e-e), and the ' ivy-leaf' sign may well hi
supplied the elements of f-f, where two similar characters run into on-
another. The last figure on the right (g) must certainly be recognized -
misshapen double-axe symbol,1 with traces of the foliate stem with which
as at HagiaTriada, it was associated in its ritual form. On a votive vessel
from a shrine perpetuating the traditional cult its appearance is quite natural
The apparent imitation of the signs ^, *|, and ^—the last two forms
peculiar to Class B—is itself of considerable interest. It is to be observed,
moreover, that, as shown above in the Table, Fig. 728, all'three signs are
exemplified by the later Mainland version of the Cretan Class B. It seems
probable that the Asine potter—though himself illiterate—had before him
some existing document of the old script, the signs of which he may have
used as decorative models, much as medieval Sicilian craftsmen adapted the
Cufic characters. There may also have existed some vague feeling of their
having a religious value. But, for that very reason, he can hardly himself be
credited with a knowledge of the Art of Writing.
Beyond this it is impossible to go : the graffito signs cut on the rim of
the Asine jar cannot be regarded as forming an intelligible inscription.2
The Minoan Script in Cyprus.
Late The more or less continuous Minoan contact with Cyprus has been
Script" shown to go back to the time of the finest L. M. I b artistic phase, such as
intra- is reflected on the ' marine style' relief of the bronze ' hydria' from Kurion.3
into Some acquaintance with Script A—so widely diffused in Crete itself—might
Cyprus, therefore well be looked for there, and, indeed, is traceable in at least one of
the ' Cypro-Minoan ' characters still, current during the vogue of the insular
style answering to L. M. Ill b.
In number, the published examples are very limited * and are, indeed,
1 Prof. Person, op. cit., p. 17, has rightly signs of the later Cypriote syllabary, though
recognized this, and the sprays on either I am in agreement with him on the general
side of the shaft (by him connected) cor- question of the indebtedness of that syllabary
roborate the conclusion. The double-axe, to the advanced Minoan linear Script (see my
however, had already given birth to the charac- Table, Serif hi Miitoa, i, p. 79, and the re-
ter Win the linear script of Crete, though it was vised version of it, p. 762 below). But man)
at times used as a symbol. of the .suggestions made in his Table, op.c ■»
"- I am wholly unable to follow Professor Fig- G, P- 17, miss or overshoot the mark.
Persson in his bold attempt (op. at., p. 10 s See P. ofM:, II, Pt. ii, p. '653 and Fig- f
seqq.) to read off the marks on the jar in ' See my Scripta Minoa, i, p. 3° seiW'
based on the ' whip' of the later Palace script ^J. There follows what see
to be a very rude sketch of a bull (e-e), and the ' ivy-leaf' sign may well hi
supplied the elements of f-f, where two similar characters run into on-
another. The last figure on the right (g) must certainly be recognized -
misshapen double-axe symbol,1 with traces of the foliate stem with which
as at HagiaTriada, it was associated in its ritual form. On a votive vessel
from a shrine perpetuating the traditional cult its appearance is quite natural
The apparent imitation of the signs ^, *|, and ^—the last two forms
peculiar to Class B—is itself of considerable interest. It is to be observed,
moreover, that, as shown above in the Table, Fig. 728, all'three signs are
exemplified by the later Mainland version of the Cretan Class B. It seems
probable that the Asine potter—though himself illiterate—had before him
some existing document of the old script, the signs of which he may have
used as decorative models, much as medieval Sicilian craftsmen adapted the
Cufic characters. There may also have existed some vague feeling of their
having a religious value. But, for that very reason, he can hardly himself be
credited with a knowledge of the Art of Writing.
Beyond this it is impossible to go : the graffito signs cut on the rim of
the Asine jar cannot be regarded as forming an intelligible inscription.2
The Minoan Script in Cyprus.
Late The more or less continuous Minoan contact with Cyprus has been
Script" shown to go back to the time of the finest L. M. I b artistic phase, such as
intra- is reflected on the ' marine style' relief of the bronze ' hydria' from Kurion.3
into Some acquaintance with Script A—so widely diffused in Crete itself—might
Cyprus, therefore well be looked for there, and, indeed, is traceable in at least one of
the ' Cypro-Minoan ' characters still, current during the vogue of the insular
style answering to L. M. Ill b.
In number, the published examples are very limited * and are, indeed,
1 Prof. Person, op. cit., p. 17, has rightly signs of the later Cypriote syllabary, though
recognized this, and the sprays on either I am in agreement with him on the general
side of the shaft (by him connected) cor- question of the indebtedness of that syllabary
roborate the conclusion. The double-axe, to the advanced Minoan linear Script (see my
however, had already given birth to the charac- Table, Serif hi Miitoa, i, p. 79, and the re-
ter Win the linear script of Crete, though it was vised version of it, p. 762 below). But man)
at times used as a symbol. of the .suggestions made in his Table, op.c ■»
"- I am wholly unable to follow Professor Fig- G, P- 17, miss or overshoot the mark.
Persson in his bold attempt (op. at., p. 10 s See P. ofM:, II, Pt. ii, p. '653 and Fig- f
seqq.) to read off the marks on the jar in ' See my Scripta Minoa, i, p. 3° seiW'