DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1118#0532
882
EGYPTIAN AND SYRIAN RELIGIOUS INFLUENCES
Survival
of high
gypsum
dadoes in
basement
areas.
a fine 'amphora', now fully restored, from the borders of the ' North-West
Sanctuary Hall' at Knossos in the finest 'Palace style'.1
- The comparatively simple spiral and rosette band that, both in the
fresco and the allied ceramic types, links the shields, reappears as a preva-
lent dado band in the 'Domestic Quarter'. In the ' Hall-of the Double
Axes', as already observed, the shields themselves may well have huno-
from this band.
In the well-protected basement chambers on this side the earlier
system of high gypsum dadoes still survived. But both the ' Procession
Fresco' and that repeating the 8-shaped shields illustrate a change of
fashion very characteristic of the last Palatial phase in which the stone
dadoes high or low were given up and the decorative design, consisting
solely of painted stucco, reached down to the pavement.2
Egyptian
and
Syrian
religious
influ-
ences.
Hippo-
potamus
Goddess
Ta-urt
originates
Minoan
Genii.
Votaries
of Camp-
stool
Fresco'
in Syrian
Gaber-
dines.
Signs of Religious Influences, Egyptian and Syrian, on the ' New Era ':
Access of Sacerdotalism at Knossos.
The increased vogue of certain religious subjects and the growth of
Sacerdotalism, which characterizes the latest Palatial phase of Knossos in
a special degree, seem to have been largely due to influences, both Egyptian
and Oriental, which up to a certain point no doubt were common to the
whole Minoan World. The appearance of the Hippopotamus Goddess
Ta-urt in her astral relation on a ceiling of Senmut's Tomb :i—otherwise so
illustrative of the connexions with the Keftiu regions—is something more
than an accidental phenomenon. From the beginning of this epoch4 the bene-
ficent Egyptian Goddess is taken over by Minoan religious Art as the
Genius of vegetation and animal life. On the other hand, the ' Camp-stool
Frescoes' of Knossos—associated with 'Palace Style' vases—display
votaries, belonging we may suppose to some sacral College, wearing long
robes of Oriental fashion that also characterize certain princely figures on
gems, some of which—like one found in the passage behind the ' Room of
similar fragment from Knossos (Ashm. Mus.) the floor, such as the Hagia Triada scenes
whereas at Gezer the shield is associated with depicting the cat and pheasant and the leaping
an asterisk. It apparently belongs to a cup,
on the upper margin of which is a conven-
tionalized rock ornament.
1 See above (l't. I), p. 341, Fig. 284.
- Examples can be cited of earlier date
showing painted stucco decoration reaching to
roe. But it is only now that the fashion
becomes general.
:' See above, p. 43Sseqq. and Fig. 36_.
' E.g. on the handle of the bronze hydrui
from Kurion. See above, pp. 45^, 457' an
Fig. 381, with marine style relief, L. M. It-
EGYPTIAN AND SYRIAN RELIGIOUS INFLUENCES
Survival
of high
gypsum
dadoes in
basement
areas.
a fine 'amphora', now fully restored, from the borders of the ' North-West
Sanctuary Hall' at Knossos in the finest 'Palace style'.1
- The comparatively simple spiral and rosette band that, both in the
fresco and the allied ceramic types, links the shields, reappears as a preva-
lent dado band in the 'Domestic Quarter'. In the ' Hall-of the Double
Axes', as already observed, the shields themselves may well have huno-
from this band.
In the well-protected basement chambers on this side the earlier
system of high gypsum dadoes still survived. But both the ' Procession
Fresco' and that repeating the 8-shaped shields illustrate a change of
fashion very characteristic of the last Palatial phase in which the stone
dadoes high or low were given up and the decorative design, consisting
solely of painted stucco, reached down to the pavement.2
Egyptian
and
Syrian
religious
influ-
ences.
Hippo-
potamus
Goddess
Ta-urt
originates
Minoan
Genii.
Votaries
of Camp-
stool
Fresco'
in Syrian
Gaber-
dines.
Signs of Religious Influences, Egyptian and Syrian, on the ' New Era ':
Access of Sacerdotalism at Knossos.
The increased vogue of certain religious subjects and the growth of
Sacerdotalism, which characterizes the latest Palatial phase of Knossos in
a special degree, seem to have been largely due to influences, both Egyptian
and Oriental, which up to a certain point no doubt were common to the
whole Minoan World. The appearance of the Hippopotamus Goddess
Ta-urt in her astral relation on a ceiling of Senmut's Tomb :i—otherwise so
illustrative of the connexions with the Keftiu regions—is something more
than an accidental phenomenon. From the beginning of this epoch4 the bene-
ficent Egyptian Goddess is taken over by Minoan religious Art as the
Genius of vegetation and animal life. On the other hand, the ' Camp-stool
Frescoes' of Knossos—associated with 'Palace Style' vases—display
votaries, belonging we may suppose to some sacral College, wearing long
robes of Oriental fashion that also characterize certain princely figures on
gems, some of which—like one found in the passage behind the ' Room of
similar fragment from Knossos (Ashm. Mus.) the floor, such as the Hagia Triada scenes
whereas at Gezer the shield is associated with depicting the cat and pheasant and the leaping
an asterisk. It apparently belongs to a cup,
on the upper margin of which is a conven-
tionalized rock ornament.
1 See above (l't. I), p. 341, Fig. 284.
- Examples can be cited of earlier date
showing painted stucco decoration reaching to
roe. But it is only now that the fashion
becomes general.
:' See above, p. 43Sseqq. and Fig. 36_.
' E.g. on the handle of the bronze hydrui
from Kurion. See above, pp. 45^, 457' an
Fig. 381, with marine style relief, L. M. It-