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https://doi.org/10.11588/diglit.16205#0066
APPENDIX B. SEAL STONES FROM GOURNIA
T
O the keen imagination of Dr. Evans is due the glory of discovering the importance in early "Ucello di forme strane, o mostro alato,"10 is sufficiently convincing to prove that we have represented
Aegean civilization of Cretan writing, which now awaits a further stroke of genius or fortune here one of the winged griffins so dear to the Minoan artist. On Fig. 28, 10, is another favorite subject
to be transformed into an intelligible language. In the interest of clearness the development of the gem engraver, a lion under a palm tree.17
of seal-stones may be briefly retraced here' A puzzling and unique clay seal is shown in Fig. 29, a, b; the subject, wild goats, is common,"
Contemporaneously with the Early Minoan class of seal-stones that bear decorative designs of but the material and size are extraordinary. Though unearthed in a house of the First Late Minoan
Egyptian origin (vide supra, p. 3), there developed a local system of crude pictographic signs cut on Period, Fh, the style is crude; it may be the work of a counterfeiter,19 or of a local engraver, who was
three-sided seals of steatite.2 The Middle Minoan Period saw a perfecting of the early decorative trying to bring back the use of clay seals.20 Another clay object was found of the same form but with
designs and the development of pictograms into more artistic pictorial forms on a plain face, probably unfinished, which suggests that seals of this sort met a requirement of this pro-
hard stones as well as on steatite. Further, the pictograms were abridged into vincial town.
hieroglyphic symbols, written on seal-stones and tablets, which appear to have A distinct change marks the transition from Middle Minoan to Late Minoan glyptics. Subjects
some analogies with the Hittite system of writing.3 In these two systems the or- become simpler and the technique more delicate. A double-axe on a rock-crystal seal, Fig. 30, i,from
der of writing seems to be variable, either from left to right, or from right to left, one of our best houses of the First Late Minoan Period, shows fine workmanship. It is interesting to
while often a boustrophedon arrangement appears to be followed." By the be- compare the graceful shape of this axe with the forms on other gems.21
ginning of the First Late Minoan Period the hieroglyphic writing had given place to a linear script (p. 55), This seal and the exquisite dragon flies22 on Fig. 30, 2 (green onyx,
but seal-stones of exquisite design (Fig. 30, 2) and also of most fantastic and grotesque types5 were 0rqf5^_^\ from surface above Ba) are products of the greatest skill at-
extensively used as amulets, ornaments, and signets.8 F'-'- ./V tained by the Gournia gem engraver. They indicate a highly
No examples of Early Minoan seal-stones have been found at Gournia. The technical perfection advanced artistic spirit, distinguished by simplicity and restraint
attained in Middle Minoan metallurgy had a marked influence on glyptics, and under this influence n m expression, while the masterly composition of the dragon-fly
was produced a seal-stone of the pictorial class (Fig. 27), with an exquisitely cut design of a bull in a seal is comparable with that on the best Greek coins. The charm-
stall, which shows the naturalism that won its way in all branches of art at the close of the Middle ing little ivy-leaf seal,23 Fig. 30, 3 (veined agate), from Hb, though
Minoan Period.7 This gem was found in a burial with Kamares pottery and a silver cup (PI. C 1), and ^—' ~ T"~^^>--s. still of good style, shows a little less careful technique than the two
belongs in a class not otherwise represented at Gournia. (Figs. 27-35 are of actual size.) / \. preceding gems. Among seal impressions, the running bull, Fig. 30,4,
The other seal-stones and sealings from Gournia fall into two general classes: Middle Minoan / ^Sj^^lpi 'Jf)\ \ is peculiarly characteristic of the Late Minoan Period, which delighted
styles, Fig. 28, and Late Minoan styles, Fig. 30. Fig. 28, 1 (onyx), belongs to the group, which, I tll^^Jf-^——' Ie~v,/ in representing this king of animals in every attitude of vigorous ac-
according to Dr. Evans, is characterized by ornamental motives derived from Egyptian XI 1th Dynasty ^^ji^^h^^^^^^j^/ t'on an<^ qmet repose. The duplicate impressions, one of red, the
designs.8 The shape, a signet, is probably a development of the button seal.9 Fig. 28, 2 (onyx), gives f^^^ other of black clay, that were found in the West Court of the Palace,
an unusual treatment of a lion's head and is of great interest as showing a tendency away from the & greatly resemble a bull on a gold ring, from the necropolis near Phaes-
pictorial toward the hieroglyphic style.'0 The conical steatite seal, Fig. 28, 3, a, b, is a different type ^ tos.2' Another sealing, Fig. 30, 5, of which there are three copies
both in shape and subject. It is pierced transversely, and has curving grooves running from the upper from the Palace, depicts a lion under a palm tree, in a style that is
opening towards the base. The irregular S placed within a wreath of double links may be ornamental, beginning to decline and that shows a tendency towards conventionality as compared with the more
but it may also be compared with an Egyptian hieroglyph, meaning ' to reel.'" On a clay seal, Fig. 28,4, forcible delineation of the same subject on one of our Middle Minoan gems, Fig. 28, 10. A greater
a, b, there are intaglio marks, belonging perhaps to the signary class (p. 55); the dots may have a numer- evidence of decline is noticed on an impression of a wild goat, Fig. 30, 7, where the style is characterized
ical value. This seal is from D 11, a house of the Early Town Period, and seems to be a unique type; on by the use of knobs and general carelessness of execution. Eight copies of this sealing were found in
our excavation records the description reads: "pink clay, black painted slip"—evidently an imitation Fg, within the inverted cover of a vase (PI. VIII 36).
of black steatite. Fig. 28, 5 is a tall clay seal with a pierced handle and an eight-rayed star cut in the The tendency towards extreme refinement observed in the gems of the best period pursued its
face." The steatite bead seal, Fig. 28, 6, is decorated with a six-rayed star and a rope edge.13 natural course to a conventional style, which is well illustrated on a three-sided agate, Fig. 30,8, a, b, c,d,
Examples of Middle Minoan pictorial work were also found. On Fig. 28,7 (steatite), a lady in Minoan from the Palace G 3. Though carefully cut, this gem is marred by excessive conventionality in the
dress stands back to back with a wild goat or a deer. The subject is frequently met with, and represents
fig.
one aspect of the nmvta Oypwv.14 This stone came from an early cellar east of the Public Court. An- octopus design (a) and by inexplicable technical motives of lines, circles and half-circles, suggestive in (b)
other cult scene is represented on Fig. 28, 8 (steatite, from the oldest part of the town) where two ladies of conventionalized fish. This debased pattern is a common one, and is illustrated again in a sealing j
with bell-shaped skirts and high head-dress, and with uplifted right arms, are either dancing or raising Fig. 30,6, also from the Palace.25 Further decadence is evident on two gems having as designs a vase,2*
their arms in a ritualistic gesture of adoration.15 The worn condition of Fig. 28, 9 (steatite) makes it diffi- Fig. 30, 9 (agate), and a water fowl,27 Fig. 30, 10 (agate), in both of which carelessness and unmeaning
cult of explanation, but its likeness to a seal impression from Aghia Triadha, called by Dr. Halbherr, overcrowding have succeeded the perfection and simplicity of the best periods.
1 For references on the development of seal-stones, vide supra, p. 3: E. M., notes 39, 40; M. M., notes 48, 49, 50. " Mon. Ant., XIII, p. 37, fig. 29. Cf. also griffin from Mycenae, Perrot and Chipiez, VI, fig. 413.
2 Some scholars think that the pictograms grew from a gesture language. See Evans, Aegean Script, Man, 1903, No. 28. 17 Cf. Furtwangler, Aniike Gemmen, Tafel., Ill, 16. 18 Cf. Evans, B. S. A., IX, 1903, p. 20, fig. 9.
' Evans, B. S. A., VI, 1899-1900, pp. 59 ff. 19 B. S. A., VII, 1900-01, p. 19, Dr. Evans describes a large clay matrix "for forging the royal signature," the original
4 See discussion of this subject by Hall, Classical Review, Feb. 1905, p. 80, and Evans, ibid., April, 1905, p. 187. of which "was evidently a large gold signet ring." But the Gournia seal has perhaps too humble a subject to be compar-
5 The Zakro sealings, Hogarth, /. H. S., XXII, pp. 76 ff. able with the Knossos forgery.
* Some early seals appear to have been worn as amulets or for identification. Vide Halbherr, Mem. R. 1st. Lomb., 20 Cj. clay stamps from Italian deposits, Evans, J. H. S., XIV, pp. 336, 337, and fig. 54.
XXI, Fasc, V, p. 250. Prisms and signets were pierced for suspension. Other flat seals were worn on the wrist. Cf. the 21 E. g., on a gem from Kavousi, B. S. A., VI I, 1900-01, p. 53, fig. 15.
Cup-bearer and the Dove Goddess from Knossos. 22 In connection with these insects one is reminded of the butterfly design on gold plaques from Mycenae; Perrot and
7 Cf. a seal from Knossos; Evans, B. S. A., IX, p. 88, fig. 60. 8 J. H. S., 1894, p. 327, fig. 49 g. Chipiez, VI, p. 968, figs. 543, 544; and from Phaestos, Mon. Ant., XIV, p. 601, fig. 66. The Gournia artist was ever
" J. H. S., XVII, 1897, p. 344, fig. 15 a. 10 Ibid., pp. 341, 345, figs. 9, 17, for conventionalized lions' heads. quick to grasp the decorative possibilities of the most minute details of animal and vegetable life. In this instance he has
" Cf. J. H. S., XIV, 1894, p. 314, figs. 69, 70; p. 285, fig. 13. Ibid., XVII, p. 360, Table I, 6. contrasted one of the ordinary species of dragon flies with one having round wings, very suggestive of the Nemoplera Coa,
12 Cf. an ivory disc with an 8-rayed star, from an early cemetery at Palaikastro. Bosanquet, B. S. A., VIII, p. 296, fig. 13. which is still an inhabitant of the Aegean islands. See Hist. Nat. des Insecles Nevropthes, Rambur, Paris, 1842, PI. 8, No. 3.
13 Cf. rope edge on ivory disc referred to above. 25 A common design on vases. Cf. PI. IX, 1, 3, 7. 24 Mon. Ant., XIV, p. 520, fig. 11.
14 Cf. Perrot and Chipiez, VI, PI. XVI, 5; /. H. S., XXII, p. 77, fig. 3, no. 4; Mon. Ant., XI11, p. 45, fig. 42. 25 Cf. British Museum Catalogue of Engraved Gems, PI. A, 5. Also Furtwangler, Antike Gemmen, Taf. IV, figs. 8, 9, 10.
15 Cf. Mon. Ant., XIII, p. 40, fig. 34. Perrot and Chipiez, VI, fig. 428." yM Cf. Furtwangler, op. ext., T. IV, 7, 12. 27 Cf. a gem from Avgo, Boyd, Trans. Univ. Penna., I, 1, p. 20, fig. 10.
r, B. E. Williams.
J4
T
O the keen imagination of Dr. Evans is due the glory of discovering the importance in early "Ucello di forme strane, o mostro alato,"10 is sufficiently convincing to prove that we have represented
Aegean civilization of Cretan writing, which now awaits a further stroke of genius or fortune here one of the winged griffins so dear to the Minoan artist. On Fig. 28, 10, is another favorite subject
to be transformed into an intelligible language. In the interest of clearness the development of the gem engraver, a lion under a palm tree.17
of seal-stones may be briefly retraced here' A puzzling and unique clay seal is shown in Fig. 29, a, b; the subject, wild goats, is common,"
Contemporaneously with the Early Minoan class of seal-stones that bear decorative designs of but the material and size are extraordinary. Though unearthed in a house of the First Late Minoan
Egyptian origin (vide supra, p. 3), there developed a local system of crude pictographic signs cut on Period, Fh, the style is crude; it may be the work of a counterfeiter,19 or of a local engraver, who was
three-sided seals of steatite.2 The Middle Minoan Period saw a perfecting of the early decorative trying to bring back the use of clay seals.20 Another clay object was found of the same form but with
designs and the development of pictograms into more artistic pictorial forms on a plain face, probably unfinished, which suggests that seals of this sort met a requirement of this pro-
hard stones as well as on steatite. Further, the pictograms were abridged into vincial town.
hieroglyphic symbols, written on seal-stones and tablets, which appear to have A distinct change marks the transition from Middle Minoan to Late Minoan glyptics. Subjects
some analogies with the Hittite system of writing.3 In these two systems the or- become simpler and the technique more delicate. A double-axe on a rock-crystal seal, Fig. 30, i,from
der of writing seems to be variable, either from left to right, or from right to left, one of our best houses of the First Late Minoan Period, shows fine workmanship. It is interesting to
while often a boustrophedon arrangement appears to be followed." By the be- compare the graceful shape of this axe with the forms on other gems.21
ginning of the First Late Minoan Period the hieroglyphic writing had given place to a linear script (p. 55), This seal and the exquisite dragon flies22 on Fig. 30, 2 (green onyx,
but seal-stones of exquisite design (Fig. 30, 2) and also of most fantastic and grotesque types5 were 0rqf5^_^\ from surface above Ba) are products of the greatest skill at-
extensively used as amulets, ornaments, and signets.8 F'-'- ./V tained by the Gournia gem engraver. They indicate a highly
No examples of Early Minoan seal-stones have been found at Gournia. The technical perfection advanced artistic spirit, distinguished by simplicity and restraint
attained in Middle Minoan metallurgy had a marked influence on glyptics, and under this influence n m expression, while the masterly composition of the dragon-fly
was produced a seal-stone of the pictorial class (Fig. 27), with an exquisitely cut design of a bull in a seal is comparable with that on the best Greek coins. The charm-
stall, which shows the naturalism that won its way in all branches of art at the close of the Middle ing little ivy-leaf seal,23 Fig. 30, 3 (veined agate), from Hb, though
Minoan Period.7 This gem was found in a burial with Kamares pottery and a silver cup (PI. C 1), and ^—' ~ T"~^^>--s. still of good style, shows a little less careful technique than the two
belongs in a class not otherwise represented at Gournia. (Figs. 27-35 are of actual size.) / \. preceding gems. Among seal impressions, the running bull, Fig. 30,4,
The other seal-stones and sealings from Gournia fall into two general classes: Middle Minoan / ^Sj^^lpi 'Jf)\ \ is peculiarly characteristic of the Late Minoan Period, which delighted
styles, Fig. 28, and Late Minoan styles, Fig. 30. Fig. 28, 1 (onyx), belongs to the group, which, I tll^^Jf-^——' Ie~v,/ in representing this king of animals in every attitude of vigorous ac-
according to Dr. Evans, is characterized by ornamental motives derived from Egyptian XI 1th Dynasty ^^ji^^h^^^^^^j^/ t'on an<^ qmet repose. The duplicate impressions, one of red, the
designs.8 The shape, a signet, is probably a development of the button seal.9 Fig. 28, 2 (onyx), gives f^^^ other of black clay, that were found in the West Court of the Palace,
an unusual treatment of a lion's head and is of great interest as showing a tendency away from the & greatly resemble a bull on a gold ring, from the necropolis near Phaes-
pictorial toward the hieroglyphic style.'0 The conical steatite seal, Fig. 28, 3, a, b, is a different type ^ tos.2' Another sealing, Fig. 30, 5, of which there are three copies
both in shape and subject. It is pierced transversely, and has curving grooves running from the upper from the Palace, depicts a lion under a palm tree, in a style that is
opening towards the base. The irregular S placed within a wreath of double links may be ornamental, beginning to decline and that shows a tendency towards conventionality as compared with the more
but it may also be compared with an Egyptian hieroglyph, meaning ' to reel.'" On a clay seal, Fig. 28,4, forcible delineation of the same subject on one of our Middle Minoan gems, Fig. 28, 10. A greater
a, b, there are intaglio marks, belonging perhaps to the signary class (p. 55); the dots may have a numer- evidence of decline is noticed on an impression of a wild goat, Fig. 30, 7, where the style is characterized
ical value. This seal is from D 11, a house of the Early Town Period, and seems to be a unique type; on by the use of knobs and general carelessness of execution. Eight copies of this sealing were found in
our excavation records the description reads: "pink clay, black painted slip"—evidently an imitation Fg, within the inverted cover of a vase (PI. VIII 36).
of black steatite. Fig. 28, 5 is a tall clay seal with a pierced handle and an eight-rayed star cut in the The tendency towards extreme refinement observed in the gems of the best period pursued its
face." The steatite bead seal, Fig. 28, 6, is decorated with a six-rayed star and a rope edge.13 natural course to a conventional style, which is well illustrated on a three-sided agate, Fig. 30,8, a, b, c,d,
Examples of Middle Minoan pictorial work were also found. On Fig. 28,7 (steatite), a lady in Minoan from the Palace G 3. Though carefully cut, this gem is marred by excessive conventionality in the
dress stands back to back with a wild goat or a deer. The subject is frequently met with, and represents
fig.
one aspect of the nmvta Oypwv.14 This stone came from an early cellar east of the Public Court. An- octopus design (a) and by inexplicable technical motives of lines, circles and half-circles, suggestive in (b)
other cult scene is represented on Fig. 28, 8 (steatite, from the oldest part of the town) where two ladies of conventionalized fish. This debased pattern is a common one, and is illustrated again in a sealing j
with bell-shaped skirts and high head-dress, and with uplifted right arms, are either dancing or raising Fig. 30,6, also from the Palace.25 Further decadence is evident on two gems having as designs a vase,2*
their arms in a ritualistic gesture of adoration.15 The worn condition of Fig. 28, 9 (steatite) makes it diffi- Fig. 30, 9 (agate), and a water fowl,27 Fig. 30, 10 (agate), in both of which carelessness and unmeaning
cult of explanation, but its likeness to a seal impression from Aghia Triadha, called by Dr. Halbherr, overcrowding have succeeded the perfection and simplicity of the best periods.
1 For references on the development of seal-stones, vide supra, p. 3: E. M., notes 39, 40; M. M., notes 48, 49, 50. " Mon. Ant., XIII, p. 37, fig. 29. Cf. also griffin from Mycenae, Perrot and Chipiez, VI, fig. 413.
2 Some scholars think that the pictograms grew from a gesture language. See Evans, Aegean Script, Man, 1903, No. 28. 17 Cf. Furtwangler, Aniike Gemmen, Tafel., Ill, 16. 18 Cf. Evans, B. S. A., IX, 1903, p. 20, fig. 9.
' Evans, B. S. A., VI, 1899-1900, pp. 59 ff. 19 B. S. A., VII, 1900-01, p. 19, Dr. Evans describes a large clay matrix "for forging the royal signature," the original
4 See discussion of this subject by Hall, Classical Review, Feb. 1905, p. 80, and Evans, ibid., April, 1905, p. 187. of which "was evidently a large gold signet ring." But the Gournia seal has perhaps too humble a subject to be compar-
5 The Zakro sealings, Hogarth, /. H. S., XXII, pp. 76 ff. able with the Knossos forgery.
* Some early seals appear to have been worn as amulets or for identification. Vide Halbherr, Mem. R. 1st. Lomb., 20 Cj. clay stamps from Italian deposits, Evans, J. H. S., XIV, pp. 336, 337, and fig. 54.
XXI, Fasc, V, p. 250. Prisms and signets were pierced for suspension. Other flat seals were worn on the wrist. Cf. the 21 E. g., on a gem from Kavousi, B. S. A., VI I, 1900-01, p. 53, fig. 15.
Cup-bearer and the Dove Goddess from Knossos. 22 In connection with these insects one is reminded of the butterfly design on gold plaques from Mycenae; Perrot and
7 Cf. a seal from Knossos; Evans, B. S. A., IX, p. 88, fig. 60. 8 J. H. S., 1894, p. 327, fig. 49 g. Chipiez, VI, p. 968, figs. 543, 544; and from Phaestos, Mon. Ant., XIV, p. 601, fig. 66. The Gournia artist was ever
" J. H. S., XVII, 1897, p. 344, fig. 15 a. 10 Ibid., pp. 341, 345, figs. 9, 17, for conventionalized lions' heads. quick to grasp the decorative possibilities of the most minute details of animal and vegetable life. In this instance he has
" Cf. J. H. S., XIV, 1894, p. 314, figs. 69, 70; p. 285, fig. 13. Ibid., XVII, p. 360, Table I, 6. contrasted one of the ordinary species of dragon flies with one having round wings, very suggestive of the Nemoplera Coa,
12 Cf. an ivory disc with an 8-rayed star, from an early cemetery at Palaikastro. Bosanquet, B. S. A., VIII, p. 296, fig. 13. which is still an inhabitant of the Aegean islands. See Hist. Nat. des Insecles Nevropthes, Rambur, Paris, 1842, PI. 8, No. 3.
13 Cf. rope edge on ivory disc referred to above. 25 A common design on vases. Cf. PI. IX, 1, 3, 7. 24 Mon. Ant., XIV, p. 520, fig. 11.
14 Cf. Perrot and Chipiez, VI, PI. XVI, 5; /. H. S., XXII, p. 77, fig. 3, no. 4; Mon. Ant., XI11, p. 45, fig. 42. 25 Cf. British Museum Catalogue of Engraved Gems, PI. A, 5. Also Furtwangler, Antike Gemmen, Taf. IV, figs. 8, 9, 10.
15 Cf. Mon. Ant., XIII, p. 40, fig. 34. Perrot and Chipiez, VI, fig. 428." yM Cf. Furtwangler, op. ext., T. IV, 7, 12. 27 Cf. a gem from Avgo, Boyd, Trans. Univ. Penna., I, 1, p. 20, fig. 10.
r, B. E. Williams.
J4