DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.34678#0044
44
TRANSACTIONS, DEPARTMENT OF ARCHAEOLOGY, U. OF P.
LATE MlNOAN III.
And now, Anally, we come to that period of "Mycenaean" culture widely
known from other sites than Crete. During this period a style of ornamenta-
tion prevailed, which, compared with that used in preceding periods, is lifeless
and uninteresting, but which, nevertheless, has given to most people their
idea of Mycenaean arr.
In this period are included two groups of vases. The one stands at the
very beginning of the period and marks the transition from Late Minoanll style;
the other stands at the end of the period and marks the lowest ebb of Myce-
naean art just prior to the rise of the geometric style. The one group includes
pottery from block y in Palaikastro (see table), from the Zafer Papoura graves
at Knossos, and from the necropolis at Phaistos (see table). It is charac-
Fig. 62, from 5. A A. 1902-3, IX, p. 318, Fig. 17.
terized by the "close" style/ the beginnings of which go back to the
preceding period (see p. 34). The other group is made up largely of the
ceramic remains of the "squatter" civilization at Knossos and Palaikastro.
It is marked by the frequency of the degenerate octopus ornament. In this
later period there is a falling off in the quality of both clay and paint. The
bta/eRonne is again a common shaped
Few pure naturalistic designs are in use during this period. The most
lifelike of the decorative motives which occur are fishes and birds (Fig. 78,
Mo??.. X?B. I, Part 2, PI. I; J. R. A 1903, XXIII, p. 198, Fig. 14; Ron.
1905, XIV, Part 2, PI. XXVIII; R4/F Fus. PI. XIV, 87). Both of these
motives have occurred occasionally in earlier Cretan art. A fish is the main
decorative motive on a Middle Minoan II vase in Ron. And 1895, VI, PI. IX, 8,
and on a cup of the same period from Gournia. It figures again on a Knossos
vase-fragment (A X A. 1902-3, IX, p. 115) of the Late Minoan II style and
in the frescoes and among the faience models of the later palace. Birds also
are not unknown in earlier art (J. R. A XXIII, p. 198, Fig. 14). But nowhere
i A <S. A. 1902-3, IX, pp. 316 and 317.
"See Tom&s, p. 121.
TRANSACTIONS, DEPARTMENT OF ARCHAEOLOGY, U. OF P.
LATE MlNOAN III.
And now, Anally, we come to that period of "Mycenaean" culture widely
known from other sites than Crete. During this period a style of ornamenta-
tion prevailed, which, compared with that used in preceding periods, is lifeless
and uninteresting, but which, nevertheless, has given to most people their
idea of Mycenaean arr.
In this period are included two groups of vases. The one stands at the
very beginning of the period and marks the transition from Late Minoanll style;
the other stands at the end of the period and marks the lowest ebb of Myce-
naean art just prior to the rise of the geometric style. The one group includes
pottery from block y in Palaikastro (see table), from the Zafer Papoura graves
at Knossos, and from the necropolis at Phaistos (see table). It is charac-
Fig. 62, from 5. A A. 1902-3, IX, p. 318, Fig. 17.
terized by the "close" style/ the beginnings of which go back to the
preceding period (see p. 34). The other group is made up largely of the
ceramic remains of the "squatter" civilization at Knossos and Palaikastro.
It is marked by the frequency of the degenerate octopus ornament. In this
later period there is a falling off in the quality of both clay and paint. The
bta/eRonne is again a common shaped
Few pure naturalistic designs are in use during this period. The most
lifelike of the decorative motives which occur are fishes and birds (Fig. 78,
Mo??.. X?B. I, Part 2, PI. I; J. R. A 1903, XXIII, p. 198, Fig. 14; Ron.
1905, XIV, Part 2, PI. XXVIII; R4/F Fus. PI. XIV, 87). Both of these
motives have occurred occasionally in earlier Cretan art. A fish is the main
decorative motive on a Middle Minoan II vase in Ron. And 1895, VI, PI. IX, 8,
and on a cup of the same period from Gournia. It figures again on a Knossos
vase-fragment (A X A. 1902-3, IX, p. 115) of the Late Minoan II style and
in the frescoes and among the faience models of the later palace. Birds also
are not unknown in earlier art (J. R. A XXIII, p. 198, Fig. 14). But nowhere
i A <S. A. 1902-3, IX, pp. 316 and 317.
"See Tom&s, p. 121.