DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1118#0610
954 PARALLEL SCENES OF GODDESS'S DEPARTURE
Parallel
scenes of
departure
overseas.
Nude
female
minis-
trant of
first
and very probably from the harbour town of Knossos.1 Here the Goddess
and her tree behind her float in the air above a bark with six rowers and a
steersman, its direction being further indicated by three fish, probably
dolphins, in the same manner as on the ivory
relief of a Greek warship from the Orthia
Sanctuary at Sparta.'2 On the Knossian sig-
net there rises on the shore from which the
boat pushes off, a pillar representing a
baetylic shrine, before which a male figure—
one hand on the wrist of his flounced consort
—stands with his arm stretched out to the
Goddess above, who responds with a similar
farewell gesture. A parallel scene occurs on ^%-
the gold signet-ring from Tiryns (Fig. 926).:1 ' "' "
It would seem that the parallel designs
on the above signets must be regarded as
variant versions of the scenes of the departure
of the Goddess over sea, together with her
shrine and sacred tree, while on the ' Ring
of Minos ' her advent in her new abode is
fully illustrated. As already observed, we see
1 ' ' Fig. 92-1. Nude Female Figure
before us there three separate scenes, in the resting on Edge of Altar-base,
first of which the shrine and the sacred tree pulling down Branch. (Excerpt
, • . , ... ..,.„, . from Monsieur E. Gillierons
are depicted on their original site. ihepossi- nRAW1NG\
bility is not excluded that the naked female
figure that appears on this, pulling down the branch for divine refection, may
be another version of the Goddess herself. More probably—by analogy with
the boy ministrant of the arrival scene—she should rather be regarded as
the handmaiden of the divinity. Her figure, curiously poised with twisted
legs on the edge of the sanctuary platform, and with the long tresses falling
to her hips, is in itself of considerable interest from the artistic point of view
(Fig. 924). On the other hand, the complete nudity, coupled at the same
(i) a male or female personage in their original
habitation, (2) farewell scene—female person-
age about to depart, (3) the same seated in
similar shelter on board a vessel. No religious
associations such as pillar shrine, sacral hoins,
or tree are here given, and the subject may
therefore be one of a purely heroic cycle. (l'or
the design see Fig. 926 at end of Section.)
1 See, too, P. of M., ii, Pt. I, p. 250. This
ring, acquired in Crete by an archaeological
visitor in 1927, is now in my own Collec-
tion.
- Jl.S.A.,m\,\>\4: cf.7,.«//l/;,ii,Pt.I,p.252.
1 See J', of M., ii, Pt. I, p. 245, Fig. 142;
and cf. Karo, Arch. Assoc, 1916, p. 147, Fig. 4.
There seem here to he three separate scenes :
Parallel
scenes of
departure
overseas.
Nude
female
minis-
trant of
first
and very probably from the harbour town of Knossos.1 Here the Goddess
and her tree behind her float in the air above a bark with six rowers and a
steersman, its direction being further indicated by three fish, probably
dolphins, in the same manner as on the ivory
relief of a Greek warship from the Orthia
Sanctuary at Sparta.'2 On the Knossian sig-
net there rises on the shore from which the
boat pushes off, a pillar representing a
baetylic shrine, before which a male figure—
one hand on the wrist of his flounced consort
—stands with his arm stretched out to the
Goddess above, who responds with a similar
farewell gesture. A parallel scene occurs on ^%-
the gold signet-ring from Tiryns (Fig. 926).:1 ' "' "
It would seem that the parallel designs
on the above signets must be regarded as
variant versions of the scenes of the departure
of the Goddess over sea, together with her
shrine and sacred tree, while on the ' Ring
of Minos ' her advent in her new abode is
fully illustrated. As already observed, we see
1 ' ' Fig. 92-1. Nude Female Figure
before us there three separate scenes, in the resting on Edge of Altar-base,
first of which the shrine and the sacred tree pulling down Branch. (Excerpt
, • . , ... ..,.„, . from Monsieur E. Gillierons
are depicted on their original site. ihepossi- nRAW1NG\
bility is not excluded that the naked female
figure that appears on this, pulling down the branch for divine refection, may
be another version of the Goddess herself. More probably—by analogy with
the boy ministrant of the arrival scene—she should rather be regarded as
the handmaiden of the divinity. Her figure, curiously poised with twisted
legs on the edge of the sanctuary platform, and with the long tresses falling
to her hips, is in itself of considerable interest from the artistic point of view
(Fig. 924). On the other hand, the complete nudity, coupled at the same
(i) a male or female personage in their original
habitation, (2) farewell scene—female person-
age about to depart, (3) the same seated in
similar shelter on board a vessel. No religious
associations such as pillar shrine, sacral hoins,
or tree are here given, and the subject may
therefore be one of a purely heroic cycle. (l'or
the design see Fig. 926 at end of Section.)
1 See, too, P. of M., ii, Pt. I, p. 250. This
ring, acquired in Crete by an archaeological
visitor in 1927, is now in my own Collec-
tion.
- Jl.S.A.,m\,\>\4: cf.7,.«//l/;,ii,Pt.I,p.252.
1 See J', of M., ii, Pt. I, p. 245, Fig. 142;
and cf. Karo, Arch. Assoc, 1916, p. 147, Fig. 4.
There seem here to he three separate scenes :